Architectural Record - 02 - 2024

02 2024
$11.99
architecturalrecord.com
Restore.
Reclad.
Eero Saarinen in Oslo Reuse.
WoodWorks® Vector® Panels in Constants™ Walnut > Dell Children’s Medical Center - North Campus, Austin, TX > HKS
Design & Pre-Construction Service WELL is a trademark of the International WELL Building Institute; all other trademarks used herein are the property of AWI Licensing LLC and/or its affi liates.
Pairing elegance
with a pop of color
Refined wood and bright color can create a sophisticated space with just a touch of whimsy. WoodWorks® Vector®
panels offer 100% accessibility in multiple options to address the acoustical and aesthetic needs of your space.
Choose from a variety of wood species and cuts in standard, custom, and one-of-a-kind designs. Bring
occupant well-being to the forefront with beautiful veneered wood finishes that contribute to biophilic
designs and building certification standards like the WELL™ v2 “Nature and Place” feature. Learn
more about the versatile elegance of wood at armstrongceilings.com/woodworksvector
Where Your Vision
Meets Our Expertise
Terrazzo is a handcrafted building material;
its primary components are assembled on the
construction site. For 100-years, the contractor
members of the National Terrazzo and Mosaic
Association have brought integrity and skill to
countless installations. The NTMA has the expertise
your project needs. Find specifications, information,
color samples, contractor and supplier members at
www.ntma.com or call 800-323-9736.
Pacific Gate Architect General Contractor/

Kohn Pedersen Fox Owner
San Diego Associates PC Bosa Development
California New York, NY California, Inc.
San Diego, CA
Terrazzo Contractor
T.B. Penick & Sons, Inc. Photographer
San Diego, CA Nathan Padilla Bowen
SKY MARKS
LANDMARKS EDITOR IN CHIEF Josephine Minutillo, minutilloj@bnpmedia.com
DEPUTY EDITOR Joann Gonchar, faia, leed ap,

goncharj@bnpmedia.com
MANAGING EDITOR Linda C. Lentz, lentzl@bnpmedia.com
SENIOR EDITOR Leopoldo Villardi, villardil@bnpmedia.com
SENIOR NEWS/DIGITAL EDITOR Matt Hickman, hickmanm@bnpmedia.com
SPECIAL SECTIONS EDITOR Matthew Marani, maranim@bnpmedia.com
ASSISTANT EDITOR Pansy Schulman schulmanp@bnpmedia.com
COPY EDITOR Anna Shapiro
ART DIRECTOR Michael T. Powell, powellm@bnpmedia.com

ASSISTANT ART DIRECTOR Sarah Wojno, wojnos@bnpmedia.com
CONTRIBUTING ILLUSTRATOR,
PRESENTATION DRAWINGS Peter Coe
CONTRIBUTING EDITORS Sarah Amelar, Beth Broome, James Gauer,

Blair Kamin, Izzy Kornblatt, Katharine Logan,
Cathleen McGuigan, Clifford A. Pearson,
Naomi Pollock, faia, James Russell, faia
Emeritus, David Sokol, Suzanne Stephens
INTERNATIONAL CORRESPONDENTS Tim Abrahams, Andrew Ayers, Aric Chen,

David Cohn, Chris Foges
CONTRIBUTING PHOTOGRAPHERS Iwan Baan, Roland Halbe
ARCHITECTURAL RECORD (ISSN: Print 0003-858X Digital 2470-1513) February 2024, Vol. 212,
No. 2. is published 12 times annually, monthly, by BNP Media II, LLC., 550 W. Merrill St., Suite 200,
Birmingham, MI 48009-1443. Telephone: (248) 362-3700, Fax: (248) 362-0317.
Annual rate for print: US $44.99, Canada $84.99 and Foreign $149.00. Annual rate for digital: $19.99. Single
Copy sales: $12.00.
Printed in the U.S.A. Copyright 2024, by BNP Media. All rights reserved. The contents of this publication may
not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for
product claims and representations.
Periodicals Postage Paid at Birmingham, MI, and at additional mailing offices.
POSTMASTER: Send address changes to: ARCHITECTURAL RECORD, P.O. Box 1514, Lincolnshire, IL
60069
CANADA POST: Publications Mail Agreement #40612608. GST account: 131263923. Send returns (Canada)
to IMEX Global Solutions, P.O. Box 25542, London, ON, N6C 6B2.
Photograph: Cervin Robinson
CHANGE OF ADDRESS: Send old address label along with new address to ARCHITECTURAL
RECORD, P.O. Box 1514, Lincolnshire, IL 60069.
FOR SUBSCRIPTION INFORMATION OR SERVICE, PLEASE CONTACT CUSTOMER SERVICE AT:

Local Phone: (847) 504-8163 Toll Free: (866) 501-7541 Fax: (847) 291-4816.
EDITORIAL OFFICES: (646) 849-7124. 350 Fifth Avenue, Suite 6000, New York, NY 10118.
WEBSITE: architecturalrecord.com.
BNP Media Helps People Succeed in

Business with Superior Information
PRINTED IN USA
IN THE GALLERY AND ONLINE | 39 Battery Pl, New York | skyscraper.org

Timeless aesthetics,
intuitive operation
and robust engineering.
Automatic,
Universal Roll
Towel Dispenser.
Roll with it at
Bobrick.com/Spec-and-Roll
PUBLISHER
Alex Bachrach
bachracha@bnpmedia.com
ADVERTISING SALES
MA, CT, RI, NH, VT, ME, NY, NJ, DE, MD, D.C., EASTERN PA: Joseph Sosnowski
(610) 278-7829, sosnowskij@bnpmedia.com
WESTERN PA, IN, MI, OH, TX, LA, OK, NC, TN, VA, WV, KY, AR, EASTERN CANADA: Lisa Zurick
(513) 345-8210, zurickl@bnpmedia.com
CA, OR, WA, AZ, NV, UT, NM, CO, WY, ID, MT, SD, ND, WESTERN CANADA: Bryce Madden
(503) 200-9280, bryce@maddenandassociates.net
WI, MN, IA, IL, MO, MS, NE, FL, GA, SC, AL, KS, INTERNATIONAL: Chris Wilson
(248) 819-0751, wilsonc@bnpmedia.com
WORKFORCE/RECRUITMENT: Diane Soister

(646) 849-7137, Fax: (248) 502-2046, soisterd@bnpmedia.com
PRODUCTION MANAGER: Kristen Carpenter

(248) 786-1222, Fax: (248) 502-2051, carpenterk@bnpmedia.com
CONTINUING EDUCATION
CONTINUING-EDUCATION GROUP MANAGER
Brittnie Wilson
CONTINUING-EDUCATION PROJECT MANAGER
Nikolina Liveric
CUSTOM CONTENT EDITOR
Ellen McCurtin
GROWTH MARKETING
HEAD OF GROWTH MARKETING
Brandon Decker, deckerb@bnpmedia.com
ASSOCIATE DIRECTOR, SUBSCRIBER RETENTION & MONETIZATION
Tereas Owens, owenst@bnpmedia.com
ASSOCIATE DIRECTOR, SUBSCRIBER ACQUISITION
Cassandra Kerby, kerbyc@bnpmedia.com
SR. MANAGER, ACQUISITION & RETENTION
Lauren Giacco, giaccol@bnpmedia.com
OPERATIONS MANAGER
Anna Silvestri, silvestria@bnpmedia.com
LIST RENTALS
Please contact your sales representative
Find us CORPORATE
CHIEF HR & INFRASTRUCTURE OFFICER
on Social
Rita M. Foumia
CHIEF PRODUCTION OFFICER
Vincent M. Miconi
CHIEF FINANCIAL OFFICER
Lisa L. Paulus
CHIEF CREATIVE OFFICER
Michael T. Powell
CHIEF OPERATING OFFICER
Nikki Smith
CHIEF EVENTS OFFICER
Scott Wolters
PANEL AND RESEARCH DIRECTOR
Ariane Claire
BNP MEDIA: (248) 244-6400
WEBSITE: architecturalrecord.com. SUBSCRIBER SERVICE: For subscription information or

service, please contact Customer Service at: Phone: (800) 952-6643; Email: AR@omeda.com SINGLE
COPY SALES: www.architecturalrecord.com/scs. If the Post Office alerts us that your magazine is
undeliverable, we have no further obligation unless we receive a corrected address within one year.
REPRINTS: reprints@bnpmedia.com.
BNP Media Helps People Succeed in

Business with Superior Information
PRINTED IN USA
Keep the sash.
Improve the glass.
Pilkington Spacia™
The thermal performance of conventional double glazing in the same thickness as a single
pane for historical restoration.
Scan for more on

historical restoration
glass solutions
1.800.221.0444
buildingproducts.pna@nsg.com
www.pilkington.com/na
Looking for quality BIM content ?
Look no further. Search and find the BIM

content you need at ARCAT.com.
• Data-rich objects
• Families & Systems
• Revit® formats 2019-2022 & Sketchup
• No dues!
• No subscriptions!
• No registration required!
Visit us at ARCAT.com,
and enjoy the freedom!
arcat.com
FEBRUARY 2024
DEPARTMENTS
BUILDING TYPE STUDY 1,061 KITCHEN & BATH
14 EDITOR’S LETTER RENOVATION, RESTORATION, 89 Crescent House Demonstration
16 HOUSE OF THE MONTH: Thorne ADAPTIVE REUSE Kitchen, London DROO By Chris Foges
Residence, Pittsburgh STUDIO D’ARC 45 Coolidge Corner Theatre 92 Inside-Out Bath, Kerhonkson,
By Leopoldo Villardi
Expansion, Brookline, New York BAAB ARCHITECTURE AND
29 LANDSCAPE: Union Terrace Gardens, Massachusetts HÖWELER + YOON BUILDINGS By Matthew Marani
Aberdeen, Scotland LDA DESIGN & ARCHITECTURE By A. Krista Sykes
94 Crest ADU, Marin County,
STALLAN-BRAND By Matthew Marani
50 Melbourne Holocaust Museum, California MORK-ULNES ARCHITECTS
33 GUESS THE ARCHITECT Australia KERSTIN THOMPSON By Matthew Marani
34 COMMENTARY: Death by Distaste— ARCHITECTS By Joann Gonchar, FAIA
96 Starlight Park Comfort Station,
Preserving Postmodernism’s Legacy 56 Victory Wellness Center, North Bronx, New York GRAY ORGANSCHI
By Robert A. M. Stern, FAIA Hollywood, California PATTERNS ARCHITECTURE
39 FORUM: Heritage, History, and By Sarah Amelar By Pansy Schulman
Exclusion By Susan Nigra Snyder & 62 New York Public Library Stephen 99 Products
George E. Thomas A. Schwarzman Building, New York
MECANOO WITH BEYER BLINDER BELLE
BOOKS By Linda C. Lentz 106 Dates & Events
68 Ambassaden, Oslo ATELIER OSLO & 108 SNAPSHOT: 8 Bleeding Heart Yard,
23 EXCERPT: Housing the Nation: Social
LUNDHAGEM By Andrew Ayers London GROUPWORK By Tim Abrahams
Equity, Architecture, and the Future of
Affordable Housing, edited by
Alexander Gorlin and Victoria Newhouse COVER: AMBASSADEN, OSLO, BY ATELIER OSLO &
LUNDHAGEM. PHOTO © EINAR ASLAKSEN.
24 REVIEW: Untimely Moderns: 79 CONTINUING EDUCATION:
How Twentieth-Century Architecture Building Recladding
Reimagined the Past, by Eeva-Liisa By Katharine Logan THIS PAGE: UNION TERRACE GARDENS, ABERDEEN, SCOTLAND,
BY LDA DESIGN & STALLAN-BRAND. PHOTO © ANDREW LEE.
Pelkonen Reviewed by A. Krista Sykes
Expanded coverage at architecturalrecord.com.
9
LEARN & EARN
Earn your continuing education credits free online at ce.architecturalrecord.com*
IN THIS ISSUE
p104
Photo courtesy of Tamlyn
Cost Efficiency and Budgeting with Extruded Aluminum Trim

Sponsored by Tamlyn
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR; 1 IIBEC CEH
TRENDING ARTICLES ON THE CE CENTER

Photo courtesy of Lluc Miralles, courtesy Lacol Arquitectura Cooperativa Photo courtesy of Unilock Photo courtesy of Michael Blackburn
Architecting Change: Design Exploring Large

The Climate-Positive Benefits of
Strategies for a Healthy Resilient, Aggregate Terrazzo
Concrete in Outdoor Architecture
Climate-Smart Future Sponsored by The National
Sponsored by Unilock Terrazzo & Mosaic Association
Sponsored by Think Wood
1 AIA LU/HSW; 1 GBCI CE HOUR;
1 AIA LU/HSW; 0.1 ICC CEU; 1 1 AIA LU/HSW; 1 IDCEC CEU/HSW;
1 PDH, LA CES/HSW
IDCEC CEU/HSW; 1 GBCI CE HOUR 1 GBCI CE HOUR; 0.1 ICC CEU
NEW LUNCH & LEARNS AVAILABLE ON THE EDUCATION EXCHANGE

Automated Parking Systems Demystified System-Based Steel Building Solutions: Integrating Interior Fiberglass Mat Gypsum Panels: Biophilic Design in Action
Presented by Westfalia Technologies, Inc. Aesthetics, Performance, Sustainability Benefits for Sustainable Construction Presented by Garden on the Wall®
1 AIA LU/HSW Presented by New Millennium Presented by Georgia-Pacific Building Products 1 AIA LU/HSW
1 AIA LU/HSW; 1 PDH 1 AIA LU/HSW; 1 IDCEC CEU/HSW; 1 GBCI CE HOUR;
1 LEED AP ID+C
ACADEMY SPOTLIGHT
Multifamily Housing Academy Glass in Architecture Academy

Brought to you by TAMLYN Brought to you by Guardian Glass
6 AIA LU/HSW; 2 AIA LU/ELECTIVE 8 AIA LU/HSW
A tight residential housing market Innovative products, new strategies and

underscores the need for a wide breadth of advanced technologies have led to a
smart, accessible, sustainable, and high- heightened appreciation for the use of glass
performing multifamily projects. in today’s building design.
To receive credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for complete text and to take the quiz for free.
*All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted.
10 ARCHITECTURAL RECORD F E B R UA R Y 2 0 24
A MUST FOR THE INCLUSIVE FACILITY
Height adjustment controls
Folds flat against the

wall to save space
No removable parts
or exposed cables
to deter vandalism
Stretcher supports
up to 500 lbs.
Emergency stop button
Easy access controls

to adjust height from
12" to 41" from the floor
Vandal resistant changing

surface that is cut resistant
and easy to clean
The KB3000-AHL Adult Changing Station from Koala
A solution to make public places more inclusive for adolescents and adults with
disabilities, the KB3000-AHL from Koala has an easy to use and durable design.
The height of the changing surface adjusts from 12" to 41" from the floor to
facilitate a safe transfer without requiring the caregiver to assist with lifting.
Designed for public spaces, our adjustable height changing station incorporates
exceptional safety features, unmatched durability and thoughtful features that
will be appreciated by both the cared for and caregiver.
To learn more, visit

www.koalabear.com/kb3000
A Division of Bobrick
LEARN & EARN
Earn your continuing education credits free online at ce.architecturalrecord.com*
NEW IN WEBINARS WATCH NOW

Photo courtesy of BQE Software Photo courtesy of Catherine Houska Photo courtesy of Guardian Glass
Profit by Design: A Financial Specification of Structural

Bootcamp for AE Leaders Stainless Steel: The Fundamentals From Vision to Install
Sponsored by BQE Software Sponsored by The Steel Sponsored by Guardian Glass
Institute of New York 1 AIA LU/HSW; 0.1 ICC CEU
1 AIA LU/ELECTIVE; 0.1 ICC CEU
1 AIA LU/HSW; 0.1 ICC CEU
Photo courtesy of W+P | 19six Architects Photo courtesy of King+King Architects Photo courtesy of Inpro
Unlocking Mass How to Incorporate Zero Waste

School Security
Timber Affordability Initiatives in Your Building Design
Sponsored by Vectorworks
Sponsored by Think Wood Sponsored by Inpro
1 AIA LU/HSW; 0.1 ICC CEU 1 AIA LU/HSW; 0.1 ICC CEU
NEW IN MULTIMEDIA
Photo courtesy of LaCantina Doors Photo courtesy of Dreamwalls Photo courtesy of Slenderwalls
Redefining Boundaries Impacts of Decorative Glass and

with Door Design Mirrors on Commercial Interiors Precast Concrete Insulated Panels
Sponsored by LaCantina Doors Sponsored by Dreamwalls Sponsored by Slanderwall
1 AIA LU/HSW; 0.1 ICC; 1 AIA LU/HSW; 0.1 ICC CEU; 1 AIA LU/HSW; 0.1 ICC CEU
1 IDCEC CEU/HSW 1 IDCEC CEU/HSW
Photo courtesy of ASI Group Photo courtesy of Reed Kelterborn Photo courtesy of Imre Cikajlo
The Health, Safety, and Welfare

Accessibility in Toilet
Steel-Timber Hybrid of Structural Glass Systems
Room Design
Sponsored by Think Wood Sponsored by Enclos
Sponsored by ASI Group
1 AIA LU/HSW Tensile Structures
NEW IN PODCASTS LISTEN NOW

Photo courtesy of Lake|Flato Architects Photo courtesy of Sylvie Rosokoff Photo courtesy of Brigitte Lacombe
Ted Flato and David Lake Julia Gamolina of Renovating Art Spaces in
of Lake Flato Architects Madame Architect Service to Public Experience
Presented by Ted Flato Presented by Julia Gamolina
and David Lake Presented by Annabelle Selldorf
0.5 LU/ELECTIVE 0.5 AIA LU/ELECTIVE
1 AIA LU/ELECTIVE
Photo courtesy of LEVER Architects Photo courtesy of Kevin Abosch Photo courtesy of Keep Pushing Inc.
Designing-and Dan Mancina-Adaptive

Chandra Robinson of Lever
Learning-Across Cultures Skatepark Design
Presented by Chandra Robinson
Presented by Mark Gardner Presented by Dan Mancina
1 AIA LU/ELECTIVE; 0.1 ICC CEU
1 AIA LU/ELECTIVE; 0.1 ICC CEU 0.5 AIA LU/ELECTIVE
*All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted.
From the EDITOR
Old is Gold
WHEN I WAS doing restoration work in the early 2000s, it seemed
like small potatoes. Within the last couple of years, however, architects
find they are making more money rehabbing existing buildings than
designing new ones. According to a 2022 AIA report, renovation work
that year made up the majority of architecture-firm billings for the
first time in decades.
The impetus to knock down buildings has waned.
Our annual issue on renovation, restoration, and adaptive reuse
covers several projects that intervene in existing structures. (A
series of projects focused specifically on recladding makes up the
continuing-education article). Those interventions can be completely
transformative—for instance, a supermarket-turned-wellness center
PHOTOGRAPHY: © JILLIAN NELSON

immersed in greenery—or, in the case of an Eero Saarinen–designed
embassy building in Oslo, featured on the cover, hardly perceptible.
From a run-of-the-mill retail structure to a work by a master of
20th-century architecture, these examples point to the dramatic range
of buildings deemed worthy of restoration. No wonder so many express
disbelief when certain other buildings are unable to escape the wreck-
ing ball. SOM’s Union Carbide Building—completed in 1960 and
demolished in 2021—immediately comes to mind, particularly since
the hulking frame of its soon-to-be 1,388-foot-high replacement along
Manhattan’s Park Avenue, designed by Foster + Partners, is already taking up a big chunk of the view
north from record’s 60th-floor offices at the (still standing) Empire State Building.
Architect Robert A. M. Stern would like to see other buildings avoid Union Carbide’s fate, and for
this issue contributes a list of 15 Postmodern examples—which in many parts of the country are
approaching “landmark” age. Late last year, news from historian William J.R. Curtis revealed that
another one of Le Corbusier’s buildings in India, the Sanskar Kendra Museum of the City of
Ahmedabad (1955), as well as Charles Correa’s 1963 Sardar Vallabhbhai Patel Cricket Stadium, were
both threatened with demolition. Curtis, who has long kept watch on India’s Modernist legacy, swift-
ly denounced the reported tear-down plans by the Ahmedabad Municipal Council. “Timeless works
[like these] mark a moment in history but then go on to add to the stock of collective memories.”
For a differing perspective, architect Susan Nigra Snyder and historian George E. Thomas
argue against too much preservation, criticizing in particular historic districts, which form the
cores of major cities, as impeding social, cultural, economic, and political diversity. “In historic
districts, a limited past determines the present (and future) by resisting change,” they write in this
month’s Forum.
Is one point of view more correct than the other? Market forces, cost, maintenance, structural
integrity, and opinions about architectural merit all factor into whether a building can or should be
saved. But, in recent years, we’ve all become very familiar with one very strong ally of old buildings—
the embodied carbon within them. So, whenever possible: Restore. Reclad. Reuse.
Josephine Minutillo, Editor in Chief
N A N AWA L L F O L D I N G G L AS S WA L L S
DESIGNED SPECIFICALLY Easy Operation: Smoothest and easiest operation

of any folding glass wall.
FOR MID AND HIGH-RISE Increased Transparency: Clean aesthetics with the slimmest
profiles available and minimal exposed hardware.
MULTIFAMILY BUILDINGS Flexible Stacking: Floating panel sets can stack to the left
or right with panels inward or outward opening.
Uninterrupted Transitions: Only ADA-compliant sill

with a water rating and a high heel resistant feature.
Thermally Broken System Engineered to Meet
Higher Windload Requirements of Taller Buildings Taller Heights: Floor supported panels capable of heights
up to 11' 6"
Proven Durability: Air, water, structural, and forced

DP of +/- 85 psf and CW55 Rating entry tested. Swing door tested to 500,000 and bi-fold panels
to 20,000 open/close cycles.
Four sill options:

LOW PROFILE HYBRID LOW PROFILE LOW PROFILE
SADDLE SILL Outswing SADDLE SILL RAISED
Inswing or Outswing with UniverSILL Inswing
NanaWall.com | 800 873 5673
HOUSE of the Month
PITTSBURGH’S LEGACY OF HEAVY INDUSTRY ENDURES IN A RUGGED, LOW-SLUNG HOUSE BY STUDIO D’ARC. BY LEOPOLDO VILLARDI
“WHEN MANY of the steel mills closed Henry Thorne acquired the property—a The main house, threaded between them,
here in the 1980s and ’90s, some of the work leftover parcel from the Fairacres estate once doesn’t come into focus until one advances up
ers turned to construction and fabrication,” owned by steel magnate B.F. Jones, Jr.—both the curving driveway. On even closer inspec
recounts Gerard Damiani, principal of Pitts of those structures had fallen into disrepair. tion, the residence’s many idiosyncrasies
burghbased firm studio d’ARC. “They all Notwithstanding a colony of bats, and a roof emerge. Above the front door, for example, an
built in peculiar ways because they were on the brink of collapse, the barn’s potential inverted weatheringsteel canopy directs
accustomed to heavy industry. This is some was apparent. To winterize it without wreck rainwater into a 90footlong channel, which
thing I have tried to leverage in my practice— ing the interiors, which featured impressive then empties into a funnel leading to a cascade
expressing those methods and techniques.” timber bowstring trusses, Damiani built up of repurposed livestock troughs and into a
Perhaps that ethos is no more evident than the exterior envelope by 8 inches and then stormwaterretention pond. Such imaginative
in the Thorne Residence—a sprawling, low reproduced the original exterior details. But to details seem fitting for the clients (Henry is
slung house in Pittsburgh’s residential suburb make the barn habitable—first as a temporary an inventor and entrepreneur, while Karen is
of Sewickley Heights. Replete with nods to the residence for the clients while work on the an artist and former Ultimate Frisbee player).
region’s industrial legacy—from hotdip galva main house progressed, and then as a guest Inside, exposed timber rafters rise and dip
nized steel to sooty charredwood cladding— house and entertaining space—the architect along a faceted ceiling, while muscular girders
the 11,000squarefoot dwelling also makes inserted a kitchen, a suite of bedrooms, and a support their weight and that of the planted
use of actual artifacts from that bygone era: a series of lofts inside the expansive volume. roof above them. The openplan living area
historic Gothicarch barn and a grain silo. Damiani took a more playful tack with the stretches eastward, bisecting an axis—etched
By the time current owners Karen and stuccoed terracotta grain silo to the north. into the ground with two mirrored water
Inside the cylinder, a triangular staircase— features—that visually connects the grain silo
lowered into it from above via a boom truck— and the barn. A suspended fireplace, with a
spirals upward 30 feet to a westfacing obser counterweighted cover, hangs in the center of
vation deck frequented at sunset. the room, while a ramp (matching the incline
From the nearest street, only the barn’s of the one at Villa Savoye, Damiani points
roof and grain silo peek up above the hills. out) leads up to a secluded primary suite.
PHOTOGRAPHY: © PAUL WARCHOL
17
HOUSE of the Month
6 7 1 3 4 5
14 10
SECTION A - A
11
0 10 FT.
SECTION B - B
3 M.
1 ENTRY
2 RAMP
3 KITCHEN
9 4 DINING
5 LIVING
6 STUDIO
7 GARAGE
8 BARN/GUESTHOUSE
9 SILO
10 EXERCISE ROOM
2
A A 11 OFFICE
6 7 1 4 5
14 12 GUEST BEDROOM
10
13 PRIMARY SUITE
11 14 MECHANICAL
B
8
8
0 30 FT. 0 30 FT.
MAIN-LEVEL PLAN LOWER-LEVEL PLAN
10 M. 10 M.
EMERALD bottle-bottoms stipple the historic
barn’s facade (above), while exposed bowstring
trusses and rafters structure its roof (right).
From the living area, a staircase leads down

to an office and exercise room, as well as a
string of guest-bedroom suites (for the clients’
adult children when they visit) nestled into a
berm. In this wing, the tectonic language
softens, offering a treat for the senses.
Overhead, zigzagging skylights enable a
deluge of daylight through repeating fir
beams. Underfoot, waxed steel plates clang
faintly with every footstep (the floor floats
above a mechanical-system superhighway). At
the long corridor’s end, a cantilevered balcony
juts into the landscape to offer a space for
solitude. But the real showstopper is the
elegant treatment of the concrete walls.
Damiani was particularly struck by the
concrete base of the Henry Hornbostel–de-
signed College of Fine Arts (1916) at Carnegie
Mellon University, where he teaches. “It’s a
really exceptional surface that has stood up to a
century of abuse and neglect,” he says of his
motivation to emulate it at the Thorne Resi-
dence. Damiani unearthed original specifica-
tions in the school’s archive, which included a
recipe that called for white Portland cement
and an aggregate of black Italian marble, as
well as instructions detailing how the fresh
19
HOUSE of the Month
A RAMP (left and opposite) leads up a hill to the primary suite (top). Bush-hammered
concrete, Douglas fir, and waxed steel feature in the guest wing (above).
surface should be treated (scoured, by hand, tools, using a less harsh sponge jet near them, Credits
with a wire brush, so as to not dislodge stone and careful execution. The walls in the wing
ARCHITECT: studio d’ARC architects — Gerard
chips) and finished (rubbed with a solution comprise two layers separated by rigid insula- Damiani, principal; Deborah Battistone, associate
of hydrochloric acid two or three days later). tion: an outer 10-inch-thick pour with rebar, ENGINEERS: Konefal & Company (structural);
With a laugh, Damiani recalls, “I thought, and an inner 6-inch-thick slab that was rein- Iams Consulting (m/e/p); Garvin Boward Beitko
‘That’s never going to happen.’ ” forced with fiber to withstand mechanical Engineering (geotechnical); Groundwork (civil)
Intent on recreating a similar finish through vibration. The tiebacks, made of charcoal- CONSULTANTS: Clarkson Consulting
(architectural concrete); Waterline Studios
other means, the architect embarked on a colored fiberglass, all but disappear into the (water feature); Pashek + MTR (landscape)
yearlong effort of trial and error that involved field of aggregate. “A lot of teamwork and
GENERAL CONTRACTOR: Sota Construction
many mock-ups. He also enlisted the help of coordination was involved,” Clarkson says, Services (barn, silo); Dick Building Company
architectural-concrete specialist Peter Clark- adding that his own specifications for the LLC (house), Rossman Hensley (house)
son, a longtime collaborator of Tadao Ando’s project required double the typical degree of CLIENT: Karen and Henry Thorne
on many of his North American projects, precision. The refinement shows. SIZE: 16,000 square feet (new and renovated)
including the Eychaner House in Chicago “I wanted to design a house that respected COST: withheld
(record, April 1999) and the Pulitzer Arts the landscape, the local history, and the tradi- COMPLETION DATE: May 2023
Foundation in St. Louis. White Portland tions of this place,” Damiani says. The atti-
cement, Clarkson explains, can be particularly tude is akin to the industrial mannerism of Sources
challenging, because it sets quickly, and envi- Hornbostel, whose own architectural palette CLADDING: Delta Millworks
ronmental conditions can easily affect its hue. routinely included found objects (gas fittings ROOFING: American Hydrotech
At the Thorne Residence, the concrete’s as handrails) and unconventional materials WINDOWS: Grabill Windows and Doors,
Duratherm Window Company (wood frame);
surface has been roughened to expose a dark (refractory bricks for facades). The Thorne
Super Sky Products (sloped glazing)
limestone aggregate, but a silken ½-inch reveal Residence celebrates, as Damiani contends,
DOORS: Schweiss Doors
abuts control and construction joints. Protect- “what it means to build in Western Penn-
HARDWARE: FSB North America
ing these fragile borders from the brute force sylvania”—with plenty of space to gather with
LIGHTING: Lindsey Adelman Studio
of bush hammers required developing custom friends and family to boot. n
21
Before it’s Trending,
DESIGNED TO
it’s at Coverings.
Architects and designers know that
Coverings is one of the most important design
and specifying events of the year—where
tomorrow’s trends are revealed and new
FLOOR YOU.
connections are made. Stay ahead of the
conversation as you meet the experts and
artisans who keep the tile and stone industry
excitingly innovative and breathtakingly
beautiful. No matter the project, you’ll find
timeless, sustainable, and awe-inspiring
solutions and inspiration at Coverings 2024.
April 22-25, 2024 | Atlanta, Georgia
#Coverings2024 Register at No Cost at Coverings.com

BOOKS
Housing the Nation: Social Equity, writers—expert economists, community followed job opportunities around the country,
Architecture, and the Future of Affordable organizers, housing advocates, land-use law- moving via homemade trailers that evoked the
Housing, edited by Alexander Gorlin and yers, government officials, architects, planners, days of covered wagons. The trailer parks that
Victoria Newhouse. Rizzoli, 240 pages, $35. thinkers, and academics—are actively engaged once received upper-middle-class campers
in the many aspects of building affordable became home to less well-off, itinerant labor-
Scholars, advocates, economists, architects, and housing. ers. Manufacturers responded by first design-
planners take stock of America’s affordable- ing small portable houses and then larger ones
housing crisis and suggest various strategies to Wheel Estate more suitable for long-term living. The mobile
rectify it in this forthcoming volume assembled by Until the Great Depression, the United States home industry gradually became one of the
architect Alexander Gorlin and historian had enough housing for tens of millions of poor fastest-growing sectors in America.
Victoria Newhouse. Divided into five thematic Americans and immigrants. Much of this By the 1940s, mobile homes were large
sections, the book ends with housing was considered enough to house entire families, and ad hoc
a portfolio of notable afford- substandard, and, in 1937, “trailer park” communities sprouted in open
able-housing projects by the U.S. Housing Act sought fields across every state. By the 1950s, the
equally notable designers. to improve accommodation trailers had evolved from temporary to per-
Following are excerpts from for the poor through manent use. The industry began to specify
the editors’ introduction and public-housing subsidies. axles suitable for only a single transfer. Once
“Wheel Estate,” an essay by These programs raised the mobile homes were shipped from the
contributor Andrés Duany. standards but provided— factory to the lot, the wheels would be re-
and continue to provide— moved, and the trailer would become a per-
AS OF December 2022, housing for only a small manent fixture.
more than 40 percent of the minority of those in need. Mobile homes continued to add size and
U.S. population was con- According to the National amenities during the 1950s through the 1970s.
sidered rent burdened, that Low-Income Housing At the time, site-built homes were selling for
is, spending more than 30 Coalition, such programs $40,000, and three-bedroom trailers were
percent of income on rent. supply only 36 affordable available for $6,000. By the 1970s, factory-
Rents have doubled and units for every 100 low- made homes supplied 37 percent of the na-
tripled in cities such as income families. Another, tion’s housing, and the industry had transi-
Miami and Nashville, areas larger gap exists for those tioned from an unregulated business with a
that until recently have been affordable places with incomes too high for subsidized rent and reputation for shoddy products to a federally
to live. Homelessness, the most dire result of too low for conventional homeownership. chartered industry with a uniform code and
the affordability crisis, has become more preva- In the mid- to late 1920s, a new industry strict quality control. As part of this transi-
lent in many cities, such as Austin, Texas, and emerged to fill the affordability gap: prefabri- tion, for reasons of marketing and regulatory
Portland, Oregon. This disruption to the cated and inexpensive factory-made housing. distinction, the “mobile home” moniker was
housing market gives rise to social dislocation, Its genesis was the touring trailer, which abandoned in favor of “manufactured hous-
pain, and economic instability in people who glamorized automobile luxury camping. With ing.” The name change did little to shift the
cannot afford to live reasonably close to their the onset of the Great Depression, workers perception of factory-made housing as sub-
jobs. Simply put, there is not enough affordable
housing either existing, under construction, or
planned for the future, and what is under
construction is not built fast enough to make a
dent in the enormous demand.
The insufficiency of affordable housing,
combined with long-standing income inequal-
ity coinciding with race, means that this
wealthy country, built on principles of equality
and fundamental rights, has become unjust
and dysfunctional. A nation that denies fair
housing to its people, especially its people of
color, is on the road to a breakdown. This
calamitous state of affairs was our catalyst for
PHOTOGRAPHY: © MICHAEL MORAN
creation of this book.

What distinguishes Housing the Nation
from other volumes is its holistic, clear-sight-
ed, pragmatic view of the affordable-housing
crisis in the United States. The collected essays
analyze the complex root causes of the present
situation; explore various perspectives on the EL BORINQUEN, designed by Alexander Gorlin Architects, offers 148 units for teens aging out of
issue; and propose potential solutions. The foster care, low-income seniors, working families, and formerly homeless individuals.
23
BOOKS
standard. A get-what-you-pay-for mentality for—Yale University. With Untimely Moderns: tered the untimely moderns’ investigations.
hamstrings an industry that still overdelivers How Twentieth-Century Architecture Reimag- Pelkonen begins with Everett Victor Meeks,
in a price-to-value ratio. ined the Past, author Eeva-Liisa Pelkonen chair of the Department of Architecture and
Today, a three-bedroom, federally regu- further enriches our understanding of these dean of the Yale School of Fine Arts from
lated, new-from-the-factory manufactured figures by asserting that, beyond an institu- 1922 through 1947, who established a “dual
home costs about $85 a square foot. The tional affiliation, what binds them and a curriculum” that balanced technical instruction
site-built version of the same three-bedroom handful of other key architects, artists, and (studio) and liberal arts–based education (his-
house would run $250 per square foot, if not historians is a “shared penchant for conflating tory and criticism). With this pedagogical
more. Yet cultural contempt—a problem that the past, present, and future in their work and platform, Meeks sought to instill a sense of
can be addressed with design—remains a words.” Rather than view modernity as a continuity between past and present in the
significant hurdle to the industry. n rejection of the past, they adopted an “un- midst of a rapidly progressing world. Yale’s
timely” approach that jettisoned chronology as campus was changing as well during these
Untimely Moderns: How Twentieth-Century they investigated art and architecture’s rela- years; the “Modern Gothic” idiom adopted by
Architecture Reimagined the Past, by tionship to history and time. Pelkonen dubs architect James Gamble Rogers for Yale’s
Eeva-Liisa Pelkonen. Yale University Press, 205 this group the “untimely moderns” and pro- expansive building campaign likewise grappled
pages, $65. poses that, between the 1920s and 1970s, Yale with—and prompted heated debates about—
offered a uniquely attuned environment for how architecture should relate to bygone eras.
REVIEWED BY A. KRISTA SYKES their multidisciplinary explorations. Building on the foundation afforded by
In Untimely Moderns, Pelkonen—assistant Meeks and Rogers, the second part, “Time
WHAT DO ARCHITECTS Louis Kahn, dean and professor at the Yale School of Arch- and History,” explores the next stage in the
Paul Rudolph, and Eero Saarinen have in itecture—presents her argument in three untimely moderns’ evolution. Pelkonen exam-
common? Yes, they were all masters of 20th- sections, each broken into chapters. Part one, ines French art historian Henri Focillon,
century architecture. In addition, they were all titled “Constancy and Change,” introduces the invited by Meeks to Yale in 1933, who em-
affiliated with—and designed buildings intellectual and physical conditions that fos- braced a “unique historical method of un-
mooring works of art from which were to guide students’ earity of the untimely moderns’ approach,
fixed spatial and temporal future explorations. Pelkonen relies on a sequential (albeit overlap
coordinates.” Focillon The final section, “Past and ping) framework. Yet this is of necessity;
taught at the university for Future,” contains four chapters without a temporal touchstone, it’s difficult to
the next decade, helping to that investigate architectural craft a compelling narrative, let alone one with
establish its art history works in relation to timebased so many diverse characters and lines of
department and serving as concepts, linking architects thought. Pelkonen weaves them together
intellectual mentor to and historians (or, in one case, admirably, underscoring the immense variety
successive generations of a philosopher): Kahn and Paul that exists under the deceptively compact term
historians, including Weiss; Saarinen and Kubler; “modern” as well as the multifaceted ap
George Kubler and Vin Rudolph and Sibyl Moholy proaches that comprise architectural modern
cent Scully, who would Nagy. The last chapter, “Vin ism as it evolved along with Yale’s campus and
become eminent Yale cent Scully: The Historian’s curriculum. This book joins the growing body
fixtures. Meanwhile, Revenge,” seems an anomaly of 21stcentury research that successfully
German artists Josef and in that, while the book’s prole unpacks accepted histories to offer fuller, more
Anni Albers brought their gomenon forecasts Scully’s nuanced interpretations of specific times,
Bauhausderived teaching pairing with architect Robert places, and concepts. As Pelkonen demon
philosophy to the School of Fine Arts when Venturi, the latter appears very little in the strates with Untimely Moderns, such reevalua
Meeks’s successor tapped Josef to modernize text and not at all in the chapter title (unlike tion proves quite timely. n
the arts curriculum. Rather than offer conven the previously mentioned architects, who
tional instruction in art history and apprecia receive top billing). This lack of attention is A. Krista Sykes is a writer and architectural histo-
tion, Albers instituted a design studio se curious—Venturi was, in many senses, an rian based in Cambridge, Massachusetts. She is the
quence to cultivate awareness of art’s “trans embodiment of the “historian’s revenge.” author of Vincent Scully: Architecture, Urb
historical essence” and “timeless principles,” It may be ironic that, to chart the nonlin anism, and a Life in Search of Community.
HIGH-PERFORMANCE
Hörmann Has It
High-performance, residential & commercial doors
HÖRMANN OFFERS A VARIETY OF MODELS, CUSTOMIZATIONS

AND OPTIONS - ALL FROM ONE MANUFACTURER.
HIGH-PERFORMANCE
Fabric, rubber, and rigid models designed for industry, food, parking, retail
COMMERCIAL
automotive, EMS and more (BIM objects + specification available).
COMMERCIAL
Backed by decades of engineering excellence, with trend-setting
features and options only available from Hörmann.
RESIDENTIAL
Offering value builder to the highest-end luxury designs, and crafted with the
quality you’d expect from a company with over 80 years of experience.
RESIDENTIAL
VISIT HORMANN.US FOR MORE INFO.

25
GUESS THE ARCHITECT
WIN A $500 GIFT CARD
PHOTOGRAPHY: © MICHIEL VERBEEK, WIKIMEDIA COMMONS
TAKE A LOOK ON PAGE 33

ENTER @ ARCHITECTURALRECORD.COM/GUESSTHEARCHITECT
Sponsored by:
Guess the Architect Contest

FOR COMPLETE RULES AND REGULATIONS GO TO ARCHITECTURALRECORD.COM/GUESSTHEARCHITECT
Visit us at
KBIS 2024
Booth #SL1047
All our shown and mentioned decors are reproductions.

Time for
a touch of nature.
ST40 Feelwood Oakgrain
Looks and feels like oak: Thanks to the new matt-on-matt-finish,

you get a realistic and natural look and feel. ST40 Eurodekor Faced
Chipboards are made using 76 % wood from the circular economy.
New from EGGER as part of the Decorative Collection 24+.
To find out more

to.egger.link/decorative-collection
LANDSCAPE
LDA DESIGN AND STALLAN-BRAND GIVE ABERDEEN’S UNION TERRACE GARDENS A NEW LEASE ON LIFE. BY MATTHEW MARANI
ABERDEEN’S Union Terrace Gardens its many dark recesses attracted illicit activ- The park is within a drained river valley and
opened to the public in 1879 to much fan- ity, resulting in nationwide notoriety. planted with regional flora. It is at the center of
fare; its grounds and follies were fitted with In the late aughts, as the condition of the Aberdeen (above).
all the pomp and excesses of the Victorian park worsened, the Aberdeen City
era, such as ornately detailed cast iron Council—with the help of deep-pocketed tect LDA Design and Glasgow-based de-
fences and gazebos, and balustraded monu- residents—launched the City Garden sign architect Stallan-Brand were selected
PHOTOGRAPHY: © ANDREW LEE
mental stairwells. The two-and-a-half-acre Project, an initiative to rethink the grounds for a more sensitive approach, highlighting
park is located squarely in the Scottish as a new cultural civic space. The proposed the park and city heritage while improving
coastal city’s center within a drained river dramatic transformations, by the likes of accessibility and landscaping, as well as
valley, offering striking views of the pre- Diller Scofido + Renfro and local firm other amenities.
dominantly granite-hewn streetscape Halliday Fraser Munro, which included Those false starts fostered skepticism in
above. However, the years had not been the filling of the park valley, foundered. the public, and the design team was im-
kind to this urban oasis, and by the 1980s Ultimately, London-based landscape archi- pelled to regain its trust through extensive
29
LANDSCAPE
Ramps allow accessibility (left). New walkways

lie below the original balustrade (bottom, left).
A slide and raised walkway improve circulation
(opposite, top and bottom).
consultation. “One of the biggest challenges

for us was to renew confidence and to get
people onboard and engaged with our pro-
posals,” notes LDA director Kirstin Taylor.
“We really did not put pen to paper until the
engagement process identified people’s
priorities for the garden.”
Two of the primary issues addressed were
the poor access and circulation throughout
the garden. Those monumental stairways
(though eye-catching) were not friendly to
strollers or wheelchairs or, located at just
three points, not to casual passersby either.
Additionally, a railway and highway to the
south cut off the park from the rest of the
city. The design team tackled those issues
from several angles. The most conspicuous
are the expansion of the park into the city
with newly built public plazas, the introduc-
tion of sweeping ramped terraces, and the
construction of a pedestrian bridge over that
knot of infrastructure. A slide also serves as
a playful means to deliver parkgoers to the
lower levels of the garden.
The design team introduced three pavil-
ions to anchor those expanded public spaces
and to further activate the park during the
day. They serve several functions, with a
shop, gallery, and café generating revenue
used to supplement the park’s maintenance
budget. For Stallan-Brand, it was imperative
that the design of the pavilions reflect both
the history of Aberdeen and the largely
classical context. The pavilions’ oblong form
is a riff on the city’s historic tram car system
(the last ran in 1958); their proportions and
materiality—precast concrete that includes a
marble aggregate, coupled with bronze-
PHOTOGRAPHY: © CHRISTOPHER SWAN (BOTTOM); ANDREW LEE (TOP)

colored aluminum detailing and perforated
steel panels—fit neatly into the historic
setting.
The park’s obscured sight lines and dimly
lit paths were a point of concern also shared
by the public. To the end of fixing that, the
design called for the removal of nearly 60
trees across the park, a move balanced by the
PHOTOGRAPHY: © TKTKTKTKTKTKT
enhancement of biodiversity through the

planting of new native-wildflower areas.
Within the garden, paths were added lead-
ing to a central green and also rerouted to
improve circulation. At the top of the park,
walkways cantilever off the balustrade with
the help of V-shaped trusses and concrete
piles, providing new vantage points for
people-watching. Throughout, LED light-
ing supports navigation and fosters safety,
both fact and perception.
The project also entailed a substantial
degree of preservation work, and the design
team worked closely with Historic Environ-
ment Scotland, the national conservation
authority, in several areas. The 120-year-
old balustrade that rings the park was dis-
mantled and carted away for restoration,
permitting new stainless-steel dowels to be
driven through the retaining wall mean-
while, to bring it up to contemporary stan-
dards before the balustrade was reinstalled.
The largest of the three pavilions was built
above a restroom facility dating from the
park’s construction, which had become
dilapidated; it has been painstakingly re-
stored to its original condition. Gallery
arches located beneath the balustrade, too,
were restored and now house enclosed
gallery and gathering spaces.
The result is a welcoming refuge from the
blare of city life that, through its thoughtful
historical gestures and improvements to
accessibility, is fully integrated into the
milieu of Scotland’s Granite City. n
8 7
6
2
5
1
PHOTOGRAPHY: © CHRISTOPHER SWAN
PARK MASTERPLAN
1 UNION STREET PAVILION 4 RAISED FOOTPATH 7 CENTRAL LAWN
2 BURNS PAVILION 5 COMMUNITY GARDEN 8 VANTAGE POINT
3 ROSEMOUNT PAVILION 6 PLAY AREA 9 TERRACED RAMPS
31
A Bold Classic in Modern Metal
AI Generated
NEW BOARD AND BATTEN

The Board and Batten panel system provides a timeless design
aesthetic with the proven durability of metal. It uses a concealed
fastener system to maintain clean lines and a rhythmic pattern of
alternating wide vertical boards and narrower elevated battens. Explore
the possibilities with this versatile tool for architectural creativity.
Learn more
See us at IBS Booth C8932
PAC -CLAD.COM | 800 PAC CLAD

Proud sponsor of G U ES S T H E A R C H I T ECT
Guess the Architect Contest
ENTER NOW! A monthly contest from the editors of RecoRd asks you to guess
the architect for a work of historical importance.
PHOTOGRAPHY: © MICHIEL VERBEEK, WIKIMEDIA COMMONS (TOP); RAMA, WIKIMEDIA COMMONS (BOTTOM)
THIS OFFICE COMPLEX INCORPORATES AN EXISTING FIRE STATION

ALONGSIDE A BOLD, GLASSY ADDITION THAT APPEARS TO HOVER ABOVE
IT. ITS ARCHITECT, A FORMIDABLE FIGURE WHO CONTINUES TO CAST A
LONG SHADOW OVER CONTEMPORARY PRACTICE, DEFTLY BALANCED
PRESERVATION WITH THE NEED TO CREATE A NEW SYMBOL FOR THE PORT
DISTRICT IN WHICH THE PROJECT IS LOCATED.
The Salginatobel Bridge, located in the Swiss town of Schiers and completed in
1930, was designed by Robert Maillart. Maillart, a structural engineer known for
his revolutionary approach to the use of reinforced concrete, employed the three-
hinged hollow-box concept in several projects, but nowhere as dramatically as in
the Salginatobel’s 300-foot arched span.
By entering, you have a chance to win a $500 Visa gift card. See the complete rules
and entry form online at architecturalrecord.com/guessthearchitect.
33
Record COMMENTARY
Death by Distaste: Preserving Postmodernism’s Legacy

BY ROBERT A. M. STERN, FAIA
IN NOVEMBER 1996, The New York Times But, more often than not, the real enemy is fortunately survived—by the skin of its teeth.
published a list that I prepared of 35 land- bureaucratic indifference. In some minds, Many others have not been so lucky, as wit-
marks-in-waiting—buildings scattered Postmodernism was solely a style that re- nessed by the recent callous attitude toward
throughout the boroughs that, in my opinion, sulted in a fair share of widely detested build- the monumental Kevin Roche and John
deserved to be designated and preserved. In ings—but the movement was far more than Dinkeloo–designed lobby of 60 Wall Street
the three decades since, many of them have that. It was a profound response to the cul- (1988) in Lower Manhattan, the fate of
been pardoned from death sentences, including tural shifts of the late 20th century, empha- which still hangs in the balance.
the central branch of the Brooklyn Public sizing a rejection of the notion that progress For record, I have assembled a list of 15
Library (Githens & Keally, 1941) and the necessitated a break from the past. Post- Postmodern landmarks-in-waiting across the
Look Building (Emery Roth & Sons, 1950). modernism thrived on the idea that buildings U.S. that I believe should be protected and
Others sadly have become victims of misguid- could embody a narrative, celebrate cultural even—dare I say?—loved. Although Postmodern
ed renovations or been razed. identity, and engage with their surroundings houses are perhaps the best known examples, I
Today, a different generation of building is in a positive manner. Architects accom- have included high-rises by Arquitectonica and
threatened: Postmodern architecture. With plished this through time-honored strategies I.M. Pei, academic projects by John Outram and
every year, the number of buildings and places that Modernism had abhorred: referential Venturi, Rauch & Scott Brown (whose Wu Hall
from that era that are worthy of designation motifs, juxtaposition, bold polychromy, or at Princeton is currently undergoing mainte-
grows. Unfortunately, there isn’t a consistent surface patterning. nance and restoration), and buildings designed
approach to landmarking across the country. Sometimes I tire of discussing Postmod- by Michael Graves and Arata Isozaki for the
Age is a factor (in New York, 30 years is ernism, but my commitment to preservation Walt Disney Company—all of which deserve to
considered enough time to merit eligibility, remains. Death by distaste continues to be handled with kid gloves. n
but elsewhere 50 years is more typical), and jeopardize significant buildings from the
the criteria by which various commissions latter part of the 20th century. In New York, Architect and historian Robert A. M. Stern is
evaluate architectural significance seem to Philip Johnson and John Burgee’s AT&T founding partner of RAMSA and a very
continually change. Building (1984) at 550 Madison Avenue dedicated preservationist.
1 General Foods 6 Walt Disney World 11 Four Seasons Hotel 1

Corporation Swan and Dolphin Manhattan, New York
Headquarters Resorts Pei Cobb Freed & Partners
Rye, New York Lake Buena Vista, Florida (I.M. Pei as lead) with Frank
Kevin Roche John Dinkeloo Michael Graves & Williams. Built 1993.
& Associates. Built 1983. Associates. Built 1990.
12 Piazza d’Italia
2 Gordon Wu Hall, 7 Loyola Law School New Orleans
Butler College, Los Angeles Charles Moore and August
Princeton University Gehry Partners. Built 1984. Perez. Built 1978.
Princeton, New Jersey
Venturi, Rauch & Scott
8 Duncan Hall, 13 Humana Tower
Brown. Built 1983.
Rice University Louisville, Kentucky
Houston Michael Graves &
3 Longaberger Basket John Outram & Associates Associates. Built 1985.
Building and Kendall/Heaton.
Newark, Ohio Built 1996. 2
14 Team Disney
NBBJ. Built 1997.
Building
9 PPG Place Lake Buena Vista, Florida
4 Atlantis Pittsburgh Arata Isozaki & Associates.
Condominium Johnson/Burgee Built 1991.
Miami Architects. Built 1984.
Arquitectonica. Built 1982.
15 Wexner Center for
10 Harold Washington the Arts, The Ohio
5 Pensacola Place Library Center State University
Apartments Chicago Columbus, Ohio
Chicago Hammond, Beeby & Babka. Peter Eisenman with
Stanley Tigerman & Ornament by Kent Richard Trott. Built 1989.
Associates. Built 1981. Bloomer. Built 1991.
PHOTOGRAPHY: (CLOCKWISE FROM TOP, LEFT) © BARRY HAYNES; © NORMAN MCGRATH, COURTESY ARQUITECTONICA; © PETR ŠMÍDEK; © CAROL M. HIGHSMITH, LIBRARY OF CONGRESS; © DEREK JENSEN; COURTESY KENDALL/HEATON;
© TOM BERNARD, COURTESY VENTURI, SCOTT BROWN, AND ASSOCIATES; COURTESY KEVIN ROCHE JOHN DINKELOO AND ASSOCIATES; COURTESY TIGERMAN MCCURRY ARCHITECTS; © WILLIAM TAYLOR, COURTESY MICHAEL GRAVES
8
3
9
4
10
35
Record COMMENTARY
11 12 13
© JULES GIANAKOS; © ROCCO PRADERIO; © BRAD FEINKNOPF, COURTESY WEXNER CENTER FOR THE
PHOTOGRAPHY: (CLOCKWISE FROM TOP, LEFT) © VICTOR ORLEWICZ, COURTESY PEI COBB FREED;
ARTS; © KOCHI PREFECTURE, ISHIMOTO YASUHIRO PHOTO CENTER

14 15
M AILBOXES C OMMERCIAL
& R ESIDENTIAL
ORDER FACTORY D IRECT!
ARCHITECTURAL
RESOURCES:
• CAD Drawings
• BIM Models
• Configurator
• Augmented Reality
Visit us at mailboxes.com Salsbury Industries

18300 Central Ave, Carson, CA 90746-4008
Unlock Your
Blueprint for
Success
At PABCO Gypsum, we understand that every architectural
vision requires a solid foundation. That’s why our technical
expertise becomes your blueprint to unparalleled success.
When it comes to fire and sound design, trust the proven

leaders at PABCO Gypsum to exceed your expectations. Our
commitment to acoustic testing sets us apart, with thousands
of ASTM E90 Sound Transmission Loss (STL) tests, exploring
various framing and panel configurations. This wealth of technical
knowledge is not just a statistic; it’s your key to unlocking design
possibilities that resonate.
Our technical experts aren’t just industry leaders; they’re your

strategic allies. By collaborating with us, you gain access to
invaluable resources to ensure your project not only meets but Building something special – together
exceeds your goals. People. Relationships. Communities.
WE’RE HERE TO HELP
Visit pabcogypsum.com/design-together
or scan code to connect with an expert.
Aspex® Printed Wall Protection
It’s not just a wall ...
It’s a canvas.
©Dan Schwalm
Enhance your brand and bring your walls to life with Aspex® Printed Wall
Protection. Aspex gives you total design freedom while protecting walls
from damage at the same time. And because graphics are back-printed
onto clear sheet, your image is vivid and won’t get scratched over time.
Scan to learn more about Aspex® Architectural Products

inpro.com | 800.222.5556
FORUM
Heritage, History,
and Exclusion
Historic districting is a form of social injustice, write 1970 White Population
Susan Nigra Snyder and George E. Thomas. <20%
20%-40%
WHEN REM KOOLHAAS warned at the 2010 Venice 40%-60%
Biennale that “preservation is overtaking us,” he raised issues
60%-80%
critical to design. In a world struggling with climate change,
social inequity, and the changing dynamics of modern urban- >80%
ism, what are the consequences of turning over the future to 1931 Old & Historic
the past-centered ideology of preservation? Koolhaas brought Charleston District
to the fore the irony of preservation as an invention of moder-
nity, but he missed the even more insidious way in which
preservation concentrates power in the hands of elite sub-
groups that weaponize history to serve their own ends. And
among the different legal and governmental forms that this
takes, it is the practice of designating local historic districts—
areas where existing buildings are subject to exacting stan-
dards of upkeep, and new construction is tightly curtailed—
that has the most severe of consequences. The National
Historic Preservation Act of 1966 led to legislation in states
2010 White Population
across the country that enabled the creation of the more than <20%
2,300 historic districts in existence today, the most critical of
20%-40%
which shape the cores of major cities.
A bit of historical background is helpful. Preservation’s 40%-60%
origins lie in Great Britain’s Ancient Monuments Protec- 60%-80%
tion Act of 1882. It reified the power of the sovereign over
>80%
all his kingdom, protecting the wealth expressed in inher-
2018 Charleston
ited estates while excluding the buildings of nouveau riche Historic District
industrialists who were invading “proper society.” Preser-
vation was about power, maintaining the authority of a
hierarchical society. Identity of place belonged to the elite.
The United States Constitution gave citizens authority
over their own property; in the next century, Ralph Waldo
Emerson proclaimed the U.S. free of the past as the “country by avoiding issues of slavery, the Civil War, and Charleston’s
of the future” and Henry David Thoreau compared Britain to subsequent decline. The impact of the United States’ first
“an old gentleman who is traveling with a great deal of bag- preservation district reached beyond the preserved architec-
gage . . . which he has not the courage to burn.” But, by the tural fabric, gardens, and selective narratives of a golden age.
late 19th century, xenophobic backlash against immigrants Under its regulations, “others” and their homes were removed.
from around the world and the northward movement of In 1930, the population of old Charleston was racially bal-
African-Americans led to racist and classist zoning policies anced. Ten years later, the effects of Charleston’s new historic
that restricted ownership and access for many. Later, federally code were obvious in changing demographics. Northern
sponsored real-estate maps directed bank loans to perpetuate expansion of the historic district has continued since—forcing
spatial patterns that separated whites from Blacks, Asians, the African-American population out of the city’s entire lower
and southern and eastern Europeans, who were deemed to be peninsula. By 1950, the area of the original district south of
IMAGES: © SOCIALEXPLORER INC./CIVICVISIONS
lesser; homeowners from renters; and single-family dwellings Broad Street was 99 percent white.
from multifamily units. When the Supreme Court outlawed After the Second World War, as the Great Migration
race as a basis for zoning, in 1917, planners had to look to continued, northern cities too began to adopt historic dis-
other, less overt tools to achieve the same effect. Historical- tricts. Philadelphia planner Ed Bacon created the Society
district regulation provided an answer. Hill district in a low-income, demographically diverse area
The scholar Christopher Silver finds the racial origins of of aging buildings around Independence Hall. Onerous
historic districting in Pittsburgh engineer Morris Knowles’s preservation standards that required a return to original
1931 zoning code for Charleston, South Carolina. The “Old materials along with upgrades to meet modern building
and Historic Charleston District” covered the core of the codes, all within two years, added costs that forced many
antebellum city, centering the identity of “Old Charleston” on longtime owners to sell. In the decades after 1950, Society
the American Revolution and the antebellum past and there- Hill was transformed from a mixed-income neighborhood
39
FORUM
processes, ever-changing and not static. Thus tradition, seen as
Percentage of Properties Landmarked by Community District*
a form of nostalgia, prevents change and ignores the reality
that thriving areas are constantly in flux, building new tradi-
tions and connections to the wider world. In historic districts,
a limited past determines the present (and future) by resisting
27.7% of all properties in
3% Manhattan are landmarked
change. Progressive places are not bounded; they are porous,
accepting new people and material change. Singular place
identities are a sign that one group is in control.
By making identity of place static, preservation provides
the certainty that real estate forces value. Owners and cities
may benefit financially, but at what cost? In the case of
10.5% Manhattan, nearly half of the west side of the island from
25% Central Park to the Battery is now covered by historic dis-
tricts, as is three-quarters of the most valuable real estate in
0.8%
110th St
Center City Philadelphia. Change is possible only on the
edges. In a 2014 report, the Real Estate Board of New York
evaluated the impacts of locally designated historic districts in
71.8% New York, finding that the population of those districts is less
31% diverse in racial and ethnic makeup than the rest of Manhat-
tan, Brooklyn, or the city as a whole. Of the 156 districts in
59th St
all five boroughs of New York, more than half are in
Manhattan, creating a type of “cultural gerrymandering” that
20% Percentage Landmarked preserves investment for owners in homogeneous enclaves,
9.9% 10.5% 0-1% raises real-estate prices, and may even promote tourism. And
2 - 11 % yet, despite the density of transit beneath their streets, land-
12 - 20 % marked New York districts have lower population densities,
14th St
21 - 31 % lower percentages of rental units, and smaller households than

70%
9.8% 32 - 50 %
other areas. The consequence is the retention of aging and
energy-inefficient building stock with a limited number of
Greater than 70 %
housing units, undermining the creation of density near
50% transit that would reduce the city’s carbon footprint.
Beyond the issues of whose identity, whose history, and
whose taste cultures are represented in bounded historic
*2013 Data
enclaves, the most urgent issue is the impact preservation
that was 80 percent white and 20 percent Black to an elite has on residents’ futures. Raj Chetty, a professor of econom-
community that was 95 percent white. Contrary to early ics at Harvard, has shown how, despite money spent on
19th-century promises of democracy, preservation regula- affordable housing, poverty remains concentrated in disin-
tions granted a tiny minority of Americans the power to vested neighborhoods. Children growing up in these neigh-
create places mirroring their desired identity. Preservation’s borhoods have a lower income potential and fewer prospects
origins are in segregation. of escaping poverty. Chetty’s research illustrates that en-
The late historian David Lowenthal’s abbreviated dis- abling children to grow up in successful places matters: “the
tinction “history is for all; heritage is for us alone” explains impact is greatest on those who move young and grow up
the narratives behind historic districts. When evaluating entirely in a high-opportunity neighborhood,” he writes.
these districts, we should ask: Whose history is being told? Historic districts have the resources to be high-opportunity
Who benefits from this history? Who is excluded or in- neighborhoods but instead perform like gated communities,
cluded? Koolhaas noted how preservation creates an accept- controlling aesthetics and limiting new construction that
able version of the past by preserving architecture to aes- could add density and new housing types. They become
theticize life according to controlling taste. Like Charleston, a tool that commodifies history, creating transactional
Philadelphia constructed an essentialist identity of Society value for a privileged few in today’s wealth-focused world.
Hill’s past. Both districts are characterized by sanitized, Chetty’s research makes it clear that, in a society that per-
aestheticized urban fabrics displaying the hallmarks of elite mits itself to be shaped by the economic bottom line alone,
IMAGE: COURTESY MAPPLUTO/REBNY
Anglo Saxon–derived taste culture. Not coincidently, they the ability to exclude changes life outcomes. Preservation is
also act as exclusionary devices to keep “others” out. a form of social injustice that fails the test of future lives. n
A closer look at historic districts reveals that preservation
comes at the expense of social, cultural, economic, and politi- Susan Nigra Snyder, an architect, and George E. Thomas, a
cal diversity—and opportunity. The late geographer Doreen historian, are partners in CivicVisions, an urban and cultural
Massey describes as “place-bound” those locales where the consulting firm. Together they were codirectors of the Critical
past is seen to embody the “real” character of a spot unspoiled Conservation area in the Master of Design Studies program at
by outside “intrusions.” To Massey, progressive places are Harvard’s Graduate School of Design from 2011 to 2022.
Earn AIA LUs
SEAN PAVONE | ISTOCK | GETTY IMAGES PLUS
REGISTER TODAY
SPONSORS:
MARCH 27 | NEW YORK | 6:00 PM

Glen-Gery/Brickworks Showroom
445 5th Avenue
Adaptive Reuse HOST SPONSOR:
Join Architectural Record and earn continuing education credits for a series
of presentations on adaptive reuse projects, followed by a cocktail reception.
Seating is complimentary but limited.
Moderator: Josephine Minutillo, Editor in Chief

IN PARTNERSHIP WITH:
RecordontheRoad.com
ACADEMY
OF DIGITAL LEARNING
Focus On: Multifamily Housing
Become an expert on Multifamily Housing through

Architectural Record’s Academy of Digital Learning.
Upon successful completion of the Multifamily Housing

Academy, you will earn 6 AIA LU/HSW + 2 LU/Elective
+ 0.8 ICC CEU + 8 IIBEC CEH and a digital badge that
demonstrates your mastery and achievement.
Earn your digital badge and showcase your expertise!
CREDITS: 6 AIA LU/HSW + 2 LU/Elective + 0.8 ICC CEU + 8 IIBEC CEH
A tight residential housing market underscores the need for a wide breadth of smart,
accessible, sustainable, and high-performing multifamily projects. As the demand
and desire for distinctive multifamily housing continues to expand, architects and
designers are incorporating innovative practices, strategies, and material trends
to create spaces that rise to the occasion both here and abroad. The Multifamily
Housing Academy puts the spotlight on multifamily housing projects—from affordable
and inclusive to high-end luxury, while also addressing aesthetics, labor, community,
sustainability, resiliency, and connectivity.
ce.architecturalrecord.com/academies/multifamily
Brought to you by
Reimagine the Outdoor Experience
Condential Global Services Firm, Philadelphia PA | architect: Vocon, Cleveland OH | contractor: Turner Construction | photographer: ©Halkin Mason
ROOFTOP DECKS PLAZAS GREEN ROOFS POP-UP PARKS WATER FEATURES DECK SUPPORTS WOOD TILES
CONCRETE & STONE 2CM PAVERS PAVER SUPPORT TRAYS ARTIFICIAL TURF GRATING SITE FURNISHINGS
Ugly QR code. Beautiful Decks.

bisonip.com | 800.333.4234
RENOVATION, RESTORATION, ADAPTIVE REUSE
COOLIDGE CORNER THEATRE EXPANSION | BROOKLINE, MASSACHUSETTS | HÖWELER + YOON ARCHITECTURE
Box Office Gold

An addition packed with cinematic references primes a Boston-area landmark for its
next hundred years.
BY A. KRISTA SYKES
PHOTOGRAPHY BY ANTON GRASSL
45
THE COOLIDGE Corner Theatre plays a starring role in its
Brookline neighborhood, four miles west of downtown Boston.
Initially a majestic Art Deco movie palace, the Coolidge has since
emerged as a vibrant independent art house known for creative pro-
gramming, such as themed film series and educational lectures, that
draws cinephiles from throughout the Northeast. To further expand
offerings and accommodate the growing audience’s needs, its leader-
ship aspired to supplement the historic building with two new the-
aters, an event/community space, media library, and new lobby. They
partnered with Boston-based firm Höweler + Yoon to preserve the
Coolidge Corner Theatre’s distinctive character and prepare the
spirited nonprofit institution for its next century of operation.
Situated along a low-rise commercial main street, the Coolidge
commands attention, thanks to its soaring sunburst marquee and
intricate Art Deco facade of cream-colored brick in patterned vertical
bands. Prior to the addition, the theater’s entrance doors and exterior
ticket window lacked such prominence, located around the corner in
a side alley that leads to a rear parking lot. Whether blazing heatwave
or snowy nor’easter, the Coolidge’s ticket line would stretch down
this dim passageway, winding past a three-story steel fire escape
scaled by the film-reel-lugging projectionist working the top-story
projection booth. This precarious yet necessary climb, and other such
idiosyncrasies, arose from the property’s ad hoc reconfigurations;
originally constructed in 1906 as a Universalist church, in 1933 the
space was transformed into a 1,500-seat movie house, and then later
reworked into four smaller theaters with a cramped lobby.
The Coolidge’s existing interior—alive with gilding and geometric
motifs—embodies Art Deco extravagance. Yet when formulating
their design approach, Höweler + Yoon looked beyond ornamentation
to focus on a cultural aspect of the older era that resonates with the
present. “Art Deco is not a style; it’s an attitude about technology,”
says firm principal and cofounder Eric Höweler. “Think about elec-
tricity, lighting, film, broadcasting. Art Deco emerged at a moment
of enthusiasm for these innovations, and we see an echo of that today
with the exuberance around computation, pattern-making, and im-
mersive experience.” With this notion in mind, the architects worked
to translate the Art Deco character of the original Coolidge into a
contemporary idiom. Alongside the building’s historic status and
dense urban condition, design challenges involved making the addi-
tion fossil-fuel free, per Brookline’s ambitious energy goals, and
accomplishing everything on the nonprofit’s tight budget, raised via
grassroots funding. Asked to do a lot with a little, and inspired by
celebrated films such as The Wizard of Oz and 2001: A Space Odyssey,
Höweler + Yoon turned to cinema’s essential ambience-defining
elements: light and color.
From the main street, the addition remains largely hidden. Down
the alleyway, peeking from behind the original building, rises a
three-story box rendered in glass and corrugated metal panels, creat-
ing nearly 15,000 square feet of space on a narrow swath of land.
Wrapping this neutral backdrop is the Coolidge’s new emblem: a
cream-colored veneer that reads as a billowing curtain—one that, as
the viewer approaches, disarticulates into staggered bricks arranged
in concave undulations. Animated by natural and artificial light, the
textured surface re-envisions the Art Deco street front in present-day
terms of pixilation and image resolution, resisting the characteristic
smoothness of computational form. Rather, minor imperfections in
the hand-set brick pattern emphasize the “lo-res” facade’s singularity.
Through the Coolidge’s former back/new front, patrons enter an
open glass-walled lobby with an indoor ticket booth and space for
THE COOLIDGE’S marquee and Art Deco details
(opposite, both) were a point of departure for
the pixilated curtainlike brick wall (above) and
the gilded stair core in the new lobby (right).
informal gathering. The original exterior

rear brick wall is now an inside surface,
painted white—the same hue as the ceiling’s
taut fabric panels and the concession coun-
ter’s scalloped tiles. In contrast to the ample
ornament of the pre-existing interior, which
stands mostly untouched save for improve-
ments in accessibility and egress, the new
lobby offers a neutral environment that
showcases a single brilliant feature: a sculp-
tural gold-leaf-textured wall, inspired by Liz
Taylor’s sparkling costume in Cleopatra,
which encloses the stair to the floors above.
Upstairs, the hallways and media library
47
C
D
E
A D
F
BRICK DETAIL
1 CIRCULATION 4 MOVIE HOUSE 6 A BRICK D RIGID INSULATION
2 LIBRARY 5 CATERING B WALL CAVITY E METAL FRAME
3 MOVIE HOUSE 5 6 MULTIPURPOSE ROOM C STEEL BEAM F STEEL TUBE

WALL SECTION
continue the lobby’s neutrality, but the new

state-of-the-art theaters explode with color.
6
Movie House 5, on the second floor, envel-
ops visitors in scarlet, which emanates from
the wall panels, noise-and-vibration proofed
ceiling, carpeting, and 149 seats, all indi-
1
1 rectly lit for increased effect. The experience
of moving from the muted circulation spaces
to the theater echoes that of Helen Mirren’s
3 character walking from the colorless lavatory
to the crimson dining room in Peter Green-
away’s The Cook, The Thief, His Wife & Her
4
Lover. On the third floor, the smaller, 54-
seat Movie House 6 immerses visitors in
cobalt blue, evoking the vast expanse of
outer space, as in Kubrick’s aforementioned
classic. Adjacent to this theater sits a room
5
for community or private gatherings of up to
98 people (60 when in classroom configura-
tion). Plentiful glass and an outdoor deck
enable neighborhood views, while an at-
tached catering kitchen supports operations.
Visible from the ground below, a luminous
yellow ceiling links this event space to the
lobby’s golden glow, signaling an intricate
choreography that unites the building as a
whole.
Today, as corporate multiplexes falter,
0 15 FT.
LEVEL-TWO PLAN LEVEL-THREE PLAN the Coolidge shines brighter than ever. For
5 M.
Höweler, this curiosity is explained by the
idea that art house theaters double as com-
Credits CLIENT: Coolidge Corner Theatre Foundation munity centers. The Coolidge has long
ARCHITECT: Höweler + Yoon Architecture — Eric SIZE: 14,000 square feet (addition); 3,000 square acted as an independent cinema and neigh-
Höweler, J. Meejin Yoon, principals; Jonathan feet (renovation)
Fournier, project manager; Nickle Cheung,
borhood haunt, and, with the addition,
COST: withheld
Caroline Shannon, project architects; Karl which opened in January 2024, the
Heckman, Elle Gerdeman, senior designers COMPLETION DATE: December 2023
Coolidge now serves its community in an
ENGINEERS: Wozny Barbar & Associates Sources even greater capacity. “In the age of online
(m/e/p/fp/security/IT); Souza True & Partners streaming and social media, we have a
(structural); HW Moore/Hancock (civil) MASONRY: Taylor (wire-cut brick)
CURTAIN WALL: Kawneer profound need for places to gather physi-
CONSULTANTS: Acentech (acoustics); Hastings
Consulting (code); McPhail (geotechnical); SGH GLAZING: Oldcastle BuildingEnvelope
cally,” Höweler says. “And the Coolidge
(facade); Arka Specs (hardware); Arup (lighting) INTERIOR FINISHES: Turf, Armstrong (acoustical
Corner Theatre is opening at a moment
GENERAL CONTRACTOR: Groom Construction ceilings); Sherwin-Williams (paints); Daltile when we long to be together again.” n
EACH OF THE NEW
theaters immerses
moviegoers in a single
color—scarlet in
Movie House 5
(above) and cobalt
blue in Movie House 6
(right).
49
THE FRONT elevation incorporates the facade and corner tower of

the museum’s first home (above). A ground-floor courtyard
(opposite) is among the outdoor spaces at the rear.
MELBOURNE HOLOCAUST MUSEUM I AUSTRALIA I KERSTIN THOMPSON ARCHITECTS
In Memoriam
A museum devoted to a dark chapter in history counters its difficult subject
matter with life-affirming daylight and material warmth.
BY JOANN GONCHAR, FAIA
MEMORIALIZING horrific events with architec- in-place concrete structure is completely new, except
ture is necessarily fraught. Should a building attempt for incorporating the front elevation of the old social
to reflect the brutality and trauma experienced by the hall and a tower at its southeast corner. “The facade is
victims of unimaginable violence? Should it create a one of the original artifacts of the collection,” explains
forbidding or unsettling environment? Some architects Thompson, selected by competition in 2014.
say yes—the best-known example being Daniel Libes- The existing masonry face, with the outline of the
kind and his 2001 Jewish Museum Berlin, with its tower and the gabled roof clearly identifiable, is em-
zigzagging plan and slice-like, angled windows. bedded within a taught new skin that extends upward
The designers of the Melbourne Holocaust Mu- and horizontally. It combines glass bricks with conven-
seum, in Elsternwick, one of the Australian city’s tional ones of clay to create varying degrees of opacity
southeastern suburbs, decided to go in a different and transparency. The result, resembling woven fabric,
direction. “We struggled with what role the architec- is one of lightness and delicacy but still endowed with
ture should play,” says Kerstin Thompson, founder of
Kerstin Thompson Architects (KTA). Ultimately, she
decided that “the building was not the right medium to
encounter discomfort.” Instead, “that should be the role
of curation and the exhibits.”
With this philosophy in mind, Thompson—who
won last year’s Australian Institute of Architects Gold
Medal—has designed a welcoming and nuanced struc-
ture to house a collection of more than 20,000 histori-
cal artifacts and provide space for exhibitions and
educational and outreach events. “It is a safe space to
encounter difficult subjects,” says Jayne Josem, the
museum’s former CEO.
Inaugurated in November, the museum’s opening
marks a milestone in the evolution of an institution
established four decades ago by survivors who had
immigrated to Melbourne after the Second World War.
In 1984, the founders acquired an early 20th-century
brick and timber building that had once been a com-
munity pharmacy and hall and set about collecting and
preserving survivors’ stories through testimonies, pho-
PHOTOGRAPHY: © LEO SHOWELL, EXCEPT AS NOTED
tographs, letters, documents, and other items. The

museum, then known as the Melbourne Holocaust
Centre, soon outgrew its two-story stucco-covered
structure, and constructed an auditorium in 1990, and
then added on again just nine years later. But, not long
after, the organization was once again running out of
space. The tight quarters meant that it could not mount
temporary exhibitions or accommodate all the school
groups who wanted to visit, says Josem. The institu-
tion’s leaders began to consider another expansion.
This time, however, they decided to rebuild entirely.
The resulting four-story, 43,000-square-foot poured-
51
8
5
1
3
2
A A
4
6
5
0 15 FT.
GROUND-FLOOR PLAN
5 M.
14
10 11 12
0 15 FT.
SECOND-FLOOR PLAN
5 M.
15
14
10
0 100 FT.
SITE PLAN
17 25 M.
10
0 15 FT.
FOURTH-FLOOR PLAN
5 M.
PHOTOGRAPHY: © DEREK SWALWELL
1 ENTRANCE 8 GARAGE 13 BIRCH FOREST

2 RECEPTION 9 PERMANENT 14 CIRCULATION SPINE
7
3 LOBBY EXHIBITION 15 STAFF KITCHEN
4 COURTYARD 10 TERRACE 16 OFFICES
5 AUDITORIUM 11 TEMPORARY 17 BOARD ROOM
EXHIBITION
6 GUIDES’ ROOM 18 LEARNING SPACE 0 15 FT.
12 MEMORIAL SECTION A - A
7 LIBRARY 5 M.
MIRRORED SKYLIGHTS (opposite and above) amplify the
luminosity of the circulation spine. Slender steel cables
define the central stair (above, right and right).
gravitas, says Thompson. She also notes that the assem-

blage is robust, calling it blast-proof, but without making
the building seem like a bunker.
From the street, the museum appears to be shoebox
shaped, but at the rear it terraces back to allow light and
air to reach adjacent low-rise apartment buildings and
create outdoor spaces on multiple levels. Within this
volume, KTA has organized galleries, auditoria, and
spaces for research, learning, and administration around
a multi-level circulation spine that bisects the roughly
rectangular footprint. Here, walls clad in Tasmanian
oak and carefully considered details such as stairs de-
fined by slender steel cables and subtly glowing hand-
rails incorporating LEDs add elegance and warmth that
helps counter the challenging content found inside the
galleries. The central space also visually connects the
rear outdoor spaces with a “forest” at the front. The
latter is a small shaft, sandwiched between the main
stair and the facade and planted with birch trees, a
reference to the Auschwitz-Birkenau concentration
camp (birke is “birch” in German). Daylight enters from
above and through the textile-like skin, filtering
53
through the foliage to create a dappled effect.

The birch forest is not the only instance of
manipulation of daylight within the building.
A series of skylights are strategically used to
amplify the sense of space. One, at the top of
the old building’s tower, helps illuminate a
second-floor memorial room designed by
Jolson Architects. Its glazed lites form a star
of David—the only instance of explicit reli-
gious iconography incorporated within the
architecture. The other skylights, mostly
above the central spine, include mirrors to
augment their luminosity and make the floor-
to-floor heights feel more expansive than they
are. In contrast, the galleries, by exhibition-
designer Thylacine, have low light levels and
a dense arrangement of displays.
The mirrored apertures also serve to reflect
the sky, creating a sense of “release and hope”
for visitors who have just immersed them-
selves in the history of deportations, pogroms,
and concentration camps. Ultimately, the
message of the museum and its architecture is
a life-affirming one of resilience and opti-
mism: a better understanding of difference
can overcome anti-Semitism, racism, and
prejudice, and help ensure a better future. n
Credits
THE TRANSPARENCY ARCHITECT: Kerstin Thompson Architects
— Kerstin Thompson, design director; Kelley
of the front facade
Mackay, director of projects; Claire Humphreys,
(right and opposite) is
associate principal, Tobias Pond, principal;
calibrated according Anne-Claire Deville, project lead; Martin Allen,
to the nature of the associate; Hilary Sleigh, Jasmine Placentino,
spaces behind it. For Sophie Nicholaou, Karina Piper, Ben Pakulsky,
instance, it is more Scott Diener, Lauren Garner, architects; Tamsin
transparent in front of O’Reilly, visualization; Thomas Huntingford,
a stair (above) and architecture graduate; Leonard Meister,
opaque where it architecture student
encloses galleries. CONSULTANTS: Adams Engineers (structural,
civil); Cundall (building services, ESD); Focused
Fire Engineering (fire); Cundall (acoustics),
Inhabit (facades); Thylacine (exhibition design);
Jolson Architecture & Interiors (memorial);
Bryce Raworth Conservation (heritage
consultant); M.I.P. Security, Michelson Protech
Security, CSG Security (security)
GENERAL CONTRACTOR:
McCorkell Constructions
CLIENT: Melbourne Holocaust Museum
SIZE: 43,000 square feet
COST: $12 million
PHOTOGRAPHY: © DEREK SWALWELL (TOP)
OPENING DATE: November 2023
Sources
GLASS BRICK: Poesia Glass Studio
CLAY BRICK: PGH Bricks
GLAZING & SKYLIGHTS: Viridian Glass,
Glassform, Glassworks
DOORS: Gunnebo Australia
ACOUSTICAL CEILINGS: USG, Armstrong
PANELING: Britton Timbers
55
VICTORY WELLNESS CENTER I NORTH HOLLYWOOD, CALIFORNIA I PATTERNS
A Healthy Option
An L.A. firm reinvents a 1940s supermarket as a verdant hub for medical care and holistic well-being.
BY SARAH AMELAR
PHOTOGRAPHY BY PAUL VU
AFTER DEVELOPER Andy Sogoyan acquired a languishing
former supermarket building in North Hollywood, California, along
with a two-story medical-offices structure next door, he had a vision:
“I imagined a modern, inviting place where elderly people, in particu-
lar, could get health care, urgent care, dental visits, senior daycare,
physical therapy, eyeglasses, haircuts, manicures, dance lessons, and
more—all in one spot.” That would form the core of the future Victory
Wellness Center, which would also include providers and services for
other age groups. To create this new multi-component facility,
Sogoyan initially thought of demolishing the long-vacant supermar-
ket, but his architect, Marcelo Spina of the Los Angeles firm Patterns,
convinced him otherwise. “Marcelo showed me how great the old
curving roof was,” the developer recalls. “It became clear that saving
the building would be the most beautiful and environmental solution.”
In transforming the 1946 supermarket, Patterns carved into, pro-
jected from, and partially unskinned and rewrapped its boxy volume.
While retaining most of the original roofline and supporting wooden
bowstring trusses, the renovation had to turn the existing one-story,
17,000-square-foot structure into a 42,000-square-foot one without
expanding the footprint or overall height. The $17.2 million project
also aspired to convert the entire 2.4-acre site—a relatively anonymous
hardscape along a traffic artery lined with strip malls and mom-and-
57
Existing Condition
1 5
13 Terracing
Troost Boulevard
11
8 1
9 10 1
2 6
Final Massing
A
Victory Boulevard
0 50 FT.
GROUND-FLOOR PLAN 15 M.
PROCESS DIAGRAM
1 ENTRANCE 8 CAFETERIA
2 NURSE STATION 9 WOMEN’S RESTROOM
3 TREATMENT ROOM 10 MEN’S RESTROOM
4 CONSULTATION ROOM 11 RECREATION AREA
5 PHYSICAL THERAPY 12 COURTYARD

13 6 6 6 OFFICE 13 LOWER COURTYARD
7 MEETING ROOM 14 ACCESS PLAZA
0 15 FT.
SECTION A - A
5 M.
PATTERNS carved into, projected from, and rewrapped the existing
volume (opposite, top). Ample glazing and a series of planted
courtyards (above and right) provide daylight throughout.
pop businesses—into a minicampus with a more welcoming

presence in this middle-to-low-income neighborhood.
Along this practically leafless stretch of Victory Boulevard,
the architects responded with a scheme punctuated by green
oases. Working with Tina Chee Landscape Studio, they cut into
the parcel’s ground plane and the onetime supermarket, usher-
ing in daylight and landscaped views—inextricably stitching
together the building and its site. Toward that end, Patterns
excavated a full basement under the existing floor plate and
embedded, on three of the building’s sides, deep, cascading
courtyards, two of them sunken all the way down to the sub-
grade level. The architects also inserted a new floor near the top
of the building, directly beneath the great trusses, essentially
engulfing them. As a result, a forest of diagonal members per-
meates this new level, but the interior realm below it is no longer
unified by overarching bowstrings against a soaring ceiling—in-
stead, the indoor spaces are deftly linked visually by the well-like
gardens, visible through extensive vertical glazing.
The renovated structure—once a simple, blocky, self-contained
object—now integrates complex dynamic geometries, including
multifaceted pop-outs on the top level, forming work “pods,” with
shared balcony space, for such occupants as yoga or massage
59
studios. For the main floor beneath it—which
primarily houses a medical-services facility,
plus adult daycare—the architects punched
large windows, some of them translucent, into
the once-solid boulevard facade, opening it up
to the south. Also punctuating the front eleva-
tion, the tall perpendicular plane that origi-
nally bore the words Valley Foods Market now
forms a minimalist “minaret,” a sentinel
wrapped in corrugated, powder-coated steel,
with high visibility from the street. The same
charcoal gray metal, along with standing-seam
roofs, clads the top floor’s dormer-like pop-
outs, but, below them, the architects retained
the existing shell of oversize brick (now painted
deep gray, instead of the supermarket’s white).
To integrate the 21,000-square-foot medi-
cal-office building into the new campus, the
developer updated its interiors, originally
from the 1970s, and Patterns gave its stuc-
coed exterior a compatible shade of gray. But
the architects’ more radical move was to
reduce the former grocery store’s footprint by
4,250 square feet, cutting a diagonal slice
from its eastern side to create a more gener-
ous, plaza-like space, with a sunken garden
WORK PODS and a shared balcony on the new upper-level (above) overlook a subterranean garden between the two structures. So the renova-
(top) between the two wellness-center buildings. A slender entry bridge on the main structure’s tion entailed both additions and subtractions
south side crosses over another sunken garden (opposite). to balance the function and experience of the
buildings within the surrounding site.
Though Patterns reshaped the key spatial
proportions and sequences within the former
supermarket (while retrofitting it seismically),
the firm did not oversee the interior design, as
the client wanted to give the tenants the
opportunity to fit out their own spaces.
Still, the single most transformative fea-
ture—for both the interior and exterior—was
the introduction of those deep, shady court-
yards, with some vines planted like hanging
gardens and others climbing stepped walls of
board-formed concrete. Now-roofless stretch-
es of the supermarket’s original shell enclose
these “outdoor rooms” along their outermost
edges, but where the landscaped patios project
into the building volume, the architects cre-
ated pale stucco elevations (or “inner facades,”
as Spina calls them). The sheltered gardens—
one adjoining the center’s cafeteria for open-
air dining—are accessible from multiple levels,
offering a welcome refuge for clients, patients,
and staff. The new campus has a total of
12,000 square feet of terraces, courtyards, and
balconies.
“The amount and quality of outdoor space,”
says Spina, “was essential to giving the build-
ing a public presence as a wellness and medical
center—and also in making it an asset to the
community.” The experiential qualities, hinted
at from the street, become most striking on-
site. Now—from within the subterranean
gardens or looking into them from inside the
building—it’s often easy to forget that this
place was ever a supermarket, or that traffic is
moving along the boulevard nearby. n
Credits
ARCHITECT: Patterns — Marcelo Spina, design
lead; Georgina Huljich, managing principal
ARCHITECT OF RECORD: Mutuo
ENGINEERS: Nous Engineering (structural);
Abrari Associates (electrical); CDME (m/p);
Richard Prutz (civil)
CONSULTANT: Tina Chee Landscape Studio
GENERAL CONTRACTOR:
Ed Roane Construction
CLIENT: Victory Blvd, LLC
OWNER: Andy Sogoyan
SIZE: 42,000 square feet
CONSTRUCTION COST: $17.2 million
COMPLETION DATE: July 2023
Sources
CONCRETE: Robertson’s; Sound Crete
WINDOWS & DOORS: Fleetwood; PRL
ROOFING: Armstrong
PAINT: Sherwin-Williams
DRYWALL: USG
61
NEW YORK PUBLIC LIBRARY STEPHEN A. SCHWARZMAN BUILDING I NEW YORK I MECANOO WITH BEYER BLINDER BELLE
Between the Lines

A series of surgical interventions updates this treasured 1911 landmark for new generations.
BY LINDA C. LENTZ
OVER THE YEARS, the 1911 Beaux-Arts main branch of the tion and accommodate expanded programmatic requirements.
New York Public Library (NYPL), now officially named the Stephen While previous work by Davis Brody Bond improved the building’s
A. Schwarzman Building, by Carrère & Hastings has morphed and functionality—most notably, the insertion of a glazed structure within
been modified internally to accommodate changing user needs and one of its two inner courtyards (2002) for classrooms, offices, and an
logistical demands. But changes can involve missteps. So it comes as auditorium, and the creation of a technologically advanced stack exten-
a relief that for the most recent phase of this landmark’s ongoing sion beneath Bryant Park (1991)—not all schemes have been promising.
renovation, the Dutch firm Mecanoo, as design architect, and Beyer A controversial plan by Foster + Partners in 2012, to remove the original
Blinder Belle (BBB) as the preservation architect, have carried out steel-and-cast-iron stacks that occupy seven stories of the building’s core
sensitive exterior and interior interventions that enhance its circula- for a new circulating library, brought about a public outcry. The NYPL
THE ARCHITECTS created a new entry plaza
(opposite) and reception desk (right) for the
existing Carrére & Hastings building (above).
scrapped that scheme in 2014, ultimately

replacing it with the master plan by Mecanoo
and BBB, which embraced a broader strategy
that would include the renovation of a dreary
library across Fifth Avenue at 40th Street.
Completed in 2021, that dramatic trans-
formation, resulting in the Stavros Niarchos
Foundation Library, met with acclaim
(record, June 2021) and functions both as a
lending and business library. The Stephen A.
Schwarzman Building would then continue
its long-standing role as the NYPL’s main
branch and research facility, with no books
leaving the premises. However, there were
still shortcomings at the Carrère & Hastings
edifice to address.
In spite of the Davis Brody Bond insertions
and its spectacular restoration of the Rose
Main Reading Room on the third floor in
1998 (which was followed by another in
2016), there was still much to do. The entire
building lacked an organizational focus. “It
was chaos,” says Francine Houben, Mecanoo’s
partner in charge, adding, “We wanted to
PHOTOGRAPHY: © JOHN BARTELSTONE, EXCEPT AS NOTED
listen to the logic of the Beaux-Arts building.”

Over the years, spaces conceived for public
use had been usurped for staff, mechanical
equipment, or storage. And, though this
NYPL flagship has maintained its program
as a resource for scholars and students, there
were always tourists—millions each year, of
late, who walk through its halls just to take in
the majestic spaces and gallery exhibitions.
According to Elizabeth Leber, BBB part-
ner in charge, a large part of the renovation—
much of it surgical and behind the scenes—is
about the materials, a durable and classic
63
Gottesman Hall
Bartos Photo
Gallery
Library shop & café
Visitor center
New south stairs

and elevators
Wachenheim
Gallery
New group entrance Future Welcome Center for

and public space at educators and schools
40th Street
ue
en
Av
th
Fif
CIRCULATION DIAGRAM
3 6 11
2
14
8
FIRST-FLOOR PLAN
0 50 FT.
GROUND-FLOOR PLAN
15 M.
1 NEW MARSHALL 4 NEW STAIR TO CELESTE 7 RENOVATED 42ND STREET 10 GOTTESMAN HALL 14 FUTURE EDUCATOR &
ROSE PLAZA AUDITORIUM ENTRANCE 11 NEW BARTOS GALLERY SCHOOL CENTER
2 NEW 40TH STREET 5 NEW/RENOVATED 8 MAIN ENTRANCE HALL/ 12 VISITOR CENTER
ENTRANCE/LOBBY RESTROOM INFORMATION
13 EXISTING STACKS
3 NEW STAIR/ELEVATOR CORE 6 STAFF SPACE 9 LIBRARY SHOP/CAFÉ
WHITE VERMONT marble and terrazzo visually
link the existing ground-floor corridor (right)
with a new stair-and-elevator core (above).
palette of stone, terrazzo, bronze, and wood.

The key factor, however, is flow. To improve
it, the architects first installed a side entrance
on 40th Street, where there was none, replac-
ing a mechanical enclosure with a plaza that
leads to Fifth Avenue, and sourcing the same
Vermont marble found in the original build-
ing for cladding around new bronze doors
IMAGES: © MECANOO (OPPOSITE, TOP AND RIGHT)
that seem to have always been there. “We

were very careful, conferring with the
Landmarks Preservation Commission about
how to integrate these details,” says Leber.
The addition of this south portal was
largely created for group visits and to offer an
elegantly accessible alternative to the dramatic
climb up the building’s famous Fifth Avenue
staircase. To integrate the new entrance with
the interior, the design team carved a small
lobby, where an office had been, carrying the
65
THE MAIN FLOOR now accommodates the
general public with a refurbished Gottesman
Hall (left), a new Visitor Center (bottom), and an
expanded library shop-cum-café (opposite).
Vermont marble through to an existing cor-

ridor clad in that stone. They also replaced a
shabby quarry tile floor with terrazzo, recre-
ated existing wood doors with fire-rated
versions (replicating the worn hardware), and
upgraded fluorescent lighting with histori-
cally sympathetic LED fixtures.
For the project’s most dramatic move,
Mecanoo and BBB inserted a strikingly
contemporary stair-and-elevator core at this
end, one that rises from the street level to the
top floor. Adjacent to it is a small additional
core, leading down to the lower-level audito-
rium. Both elements rely on terrazzo, marble,
and bronze to connect the new with the old.
As significant as these schemes are to the
efficient operation of the library, the first-
floor’s transition to a primarily public domain
may have the most impact on the user experi-
ence, drawing tourists to exhibitions, a shop,
and café at this level. The second and third
floors now better handle scholars’ needs for
quiet and privacy (though visitors can still
tour in a more discretionary manner through
the architecturally significant spaces).
While the entrance hall on the first floor
did not require major changes, the addition of
curved reception/information desks, faced in
ribbed bronze, is a welcome one. More sig-
nificantly, Mecanoo and BBB turned a for-
mer map-storage room overlooking Fifth
Avenue into an inviting visitor center. The
handsome wood-paneled room now provides
a coat check, as well as displays configured for
limited mobility and vision that explain attri-
butes of the library, including a sectional
model of the building.
Southwest of the central lobby, a classroom
area in the Davis Brody Bond–created learn-
ing center was converted into a spacious shop
and café. Gottesman Hall, directly behind
the main entrance, was transformed into a
jewel-like gallery subtly integrated with
state-of-the-art HVAC, lighting, and audio/
video displays, along with bronze-edged
vitrines. Formerly used for traveling exhibi-
PHOTOGRAPHY: © MECANOO (LEFT)
tions, Gottesman Hall now acts as a perma-

nent showcase for the Polonsky Treasures
exhibition of New York Public Library books,
artifacts, and art. To the north of this beauti-
fully restored space, another small gallery will
open in the spring.
Once out-of-the-way rooms for study and
seminars on the second floor are now mod-
ernized and refurbished, sheathed with cork flooring to minimize Credits CLIENT: New York Public Library
noise. Existing library furnishings maintain the interior’s extant char- DESIGN ARCHITECT: Mecanoo — SIZE: 250,000 square feet
acter. “We did careful paint analysis, to assure the colors we selected Francine Houben, partner in charge; COST: $169 million (total project);
were either the same as or inspired by what existed originally,” says PRESERVATION ARCHITECT: $130 million (construction)
Leber. “Everything we did refers to something that was in the build- Beyer Blinder Belle — Elizabeth COMPLETION DATE: July 2023
Leber, partner in charge; Stephen
ing, but doesn’t pretend to be old.” Look and you shall find old card McHale, project manager; Kerry
catalogues and tables used for display purposes in the shop. Nolan, project architect Sources
“We really respected the building,” says Houben. “And while we ENGINEERS: Silman (structural); MARBLE: Vermont Quarries
Kohler Ronan (m/e/p/fp/it); Langan GLAZING: Oldcastle BuildingEnvelope
didn’t bring it back to exactly the way it was, it feels coherent,” she (civil/geotechnical/surveyor)
adds. “People will think it has always been this way.” DOORS: Milgo Bufkin, Curries,
CONSULTANTS: OLIN (landscape Masonite
This appears to be the end of renovations for a while. Of course, the architecture); Tillotson Design
Associates (lighting design); Jaffe HARDWARE: Sargent, LCN, Rixon,
remaining question for many is what happens to the now empty stack VonDuprin, Tormax, Schlage
Holden (acoustics, a/v); CCI (code,
system under the Rose Main Reading Room—its 3 million books accessibility); Van Deusen (vertical ACOUSTICAL CEILINGS: USG,
moved to the 1991 stack extension beneath Bryant Park, west of the transportation); Pure + Applied Armstrong, BASWAPhon
library, and a warehouse in New Jersey. David Lem, NYPL’s vice (exhibition design); Lakeside LIGHTING: Bega, Selux, Cree, DMF,
Collaborative (retail); Architectural Bartco, Lucifer, Interlux, Lutron
president of Capital Planning & Construction, is ambiguously opti- Openings (hardware)
mistic—but not explicit—about the future of that famous part of the TERRAZZO: Terroxy
GENERAL CONTRACTORS: Turner
library. For now, however, it is a closed book. n Construction; Suffolk Construction PAINT: Benjamin Moore
67
AMBASSADEN | OSLO | ATELIER OSLO & LUNDHAGEM
On a Mission
With a diplomatic touch, a team refreshes the Eero Saarinen–designed former U.S. Embassy in Norway.
BY ANDREW AYERS
PHOTOGRAPHY BY EINAR ASLAKSEN
THOUGH MOST of the American public is no doubt unaware of depending on the host country—some are simply demolished, others
the change, the inhabitants of London, The Hague, and Oslo—to preserved to a greater or lesser degree,” says Otero-Pailos, whose ex-
name cities in just three countries concerned—cannot have failed to pertise saw him join the team of architects that last December com-
notice a major shift in U.S. foreign policy. Since the early 2010s, as pleted the conversion of the Oslo chancery into a mixed-use complex
conservation architect Jorge Otero-Pailos explained in his 2014 essay, for property-developer Fredensborg.
“Public Architecture After America’s Withdrawal: On the Preserva- From 1948 onward, as the Cold War grew ever chillier, architecture
tion of U.S. Embassies,” the federal government has been “quietly took on an important diplomatic role for the U.S., which began a pro-
selling off ” its valuable city-center chanceries—many of them fine gram of embassy building that sought to seduce public opinion in allied
examples of postwar Modernism—“to the highest bidder, and using countries that had joined the fight against communism. Little chunks of
the money to build new, larger, and more heavily protected structures” America, these chanceries not only housed ambassadorial and consular
in outer locations. With this post-9/11 security imperative in mind, offices but also offered cultural services, proposing free libraries and
the U.S. embassy in Britain has been moved from Mayfair to Nine screenings of U.S. movies in a policy of soft propaganda. Eschewing the
Elms (record, January 2018), that in the Netherlands from The classical language that had often characterized U.S. government build-
Hague to the neighboring town of Wassenaar, and Norway’s from ings in the past, the State Department embraced the Modernist idiom of
Henrik Ibsens Gate, opposite the royal palace, to the suburb of corporate America as epitomized by New York’s Park and Madison
Makrellbekken. After the sell-off, there remains the question of what avenues. “For me, as a child, this thing was like something beamed from
happens to these decommissioned edifices, “a fate that varies a lot the future, a really mind-blowing building,” recalls Otero-Pailos of the
AMBASSADEN’S canopied entrance (this image)

leads to a rhombus-shaped atrium (opposite).
69
Madrid embassy (King, Warlon, and Guar

rigues, 1950–55) through which his family
emigrated to the U.S.
9 7 9
5 Located in a country that has a 122mile
border with Russia, the Oslo embassy, which
opened in 1959, was one of two designed by
Eero Saarinen—the other being London’s,
2
which is currently undergoing conversion into
a hotel by David Chipperfield Architects (due
to complete in 2025). Set back from the limits
1 of its triangular site, the Oslo chancery pres
ents three almost identical fourstory facades
5 5
7 in precastconcrete modules that, thanks to
large amounts of labradorite aggregate, ap
peared black when first unveiled. Partly
6
7 7 loadbearing, the elevations created a strik
ingly graphic effect as the light caught their
facets, emphasizing the contrast between the
dark concrete and the whitepainted window
frames—for Saarinen, the building was to
0 20 FT.
SECTION A - A
6 M.
embody the strict elegance of a gentleman in
evening attire. As stipulated by the State
Department, it had three principal entrances:
at its eastern extremity, that to the library and
auditorium; at its western tip, that to the
consulate; while, in the middle of the north
ern facade, opposite the palace, stood the
doors to the embassy proper, signaled on the
street by a steelandconcrete flagpolecanopy
A designed by César Pelli, then a young staffer
at Saarinen & Associates.
After climbing the shallow flight of stairs
in the embassy entrance, which was guarded
4
by a deskseated marine, staff arrived in a
square, toplit atrium with a pool and a
faceted ceiling. Saarinen clad two sides of
the atrium in widespaced whitepainted
brick, and placed open walkways behind a
screen of teak slats on the others. Offices,
2
furnished by Knoll, were lined up along all
4
three facades, with fire escapes and bath
4 rooms tucked away in the two triangular
spaces between the atrium and the office
1 corridors. The library occupied the whole of
1 4
3
1
the second floor along the northern facade,
the auditorium and staff restaurant were
located in the semibasement (due to the
site’s slope, it becomes the ground floor at
A the rear); and mechanical equipment was
hidden away on the roof in a setback story.
FIRST-FLOOR PLAN
0 20 FT. “When the client bought the building, he
6 M.
didn’t know who Saarinen was or even that
it was by a famous architect,” laughs Jonas
Norsted of Norwegian office Atelier Oslo,
1 ENTRY 4 MEETING ROOM 7 MECHANICAL which was one member of the team—along
2 ATRIUM 5 RESTAURANT 8 OFFICE side fellow Norwegians Lundhagem and
3 CAFÉ 6 EVENT SPACE 9 ROOFTOP TERRACE conservation architects Erik Langdalen and
OteroPailos—that won the 2017 competi
tion to convert the building for Fredensborg’s
SAARINEN-DESIGNED Tulip chairs furnish the
restaurant (above). Daylight floods the offices,
which line the building’s perimeter (right).
billionaire founder Ivar Tollefsen. Looking to

move the firm’s headquarters there, Tollefsen
was soon checked by the Norwegian authori-
ties who, following a reconnaissance tour
carried out while the building was still U.S.
territory, immediately landmarked the em-
bassy once the sale went through. Since much
of the chancery was off-limits during the visit,
the heritage commission listed only what it
had actually seen: the facades, the entrances
and atrium, the whole of the second floor
where the library was located, the auditorium,
and the fourth-floor ambassador’s office.
“The main question in the competition
brief was, ‘How much extra space is pos-
sible?’ ” continues Norsted, whose team pro-
posed adding floors both on top of and
underneath the building. Hostile to any
extension, the heritage commission vetoed
building upward, which would have altered
Saarinen’s proportions, but gave way on dig-
ging down when it became clear that it was
71
THE ATRIUM features teak (above), while offices
include walnut (left and top left). Contemporary
mosaicwork by Diena Georgetti complements
the midcentury architecture (opposite).
the only way of squeezing in today’s volumi-

nous HVAC systems. As a result, the most
radical intervention is invisible from outside:
the entire plot has been excavated to a depth
of 50 feet, a nerve-racking process that took
18 months, since the ground consisted of solid
rock that had to be drilled and dynamited
away while the building was propped on
temporary stays (today replaced by a perma-
nent structure in steel). As well as the me-
chanical equipment, the new basement con-
tains a large events space (with its own
entrance in the sidewalk at the rear), a gym,
and a parking garage, while the former audi-
torium and staff restaurant now house a
brasserie. Another restaurant crowns the
building—the erstwhile technical floor has
been rebuilt to take advantage of views over
the palace and Oslo’s harbor—and a café can
be found where consular services were once
located.
While both the landmarked ambassador’s
office and second floor have been meticulously
73
THE BUILDING’S EXTREMITIES terminate at sharp, blade-like corners. sion, which reportedly cost more than double the $44 million purchase
price. The approach in Oslo is very different from that in London,
restored, including repair of the library’s clever shelving system, the where Saarinen’s chancery has not only been gutted but sports a tall
remainder of the standard office floors was gutted to make way for more new upper story. In the preservation world, however, “What have you
state-of-the-art accommodation—though the result, with its walnut-and- been doing?” is about the highest compliment there is. n
glass partitions, appears more Mad Men than the originals. The impera-
tive to respect the building’s volumes made installation of mechanical
Credits Paulsen & Nilsen (interior design);
ventilation extremely challenging, leading the architects to develop an LCLA Office, SLA (landscape
ARCHITECTS: Eero Saarinen
ingenious approach that, in addition to small-diameter ducts and porous architecture); Fokus Rådgiving
(original); Atelier Oslo & Lundhagem
(pm/fp); Foyn Consult (electrical);
dropped ceilings, uses the atrium as a chimney to extract stale air. — Jonas Norsted (Atelier Oslo),
Norconsult (building physics); Link
Another challenge was presented by the building’s facades, which had Svein Lund (Lundhagem), partners
Arkitektur AS (ventilation); Golder
in charge; Bosheng Gan (Atelier
faded to a dull gray-brown and were badly deteriorated in places. “The Associates (geotechnical)
Oslo), Ane Forfang (Lundhagem),
manufacturer that cast the modules used salt in the mix because it helped architects in charge; Ola GENERAL CONTRACTOR: Oslo
the concrete set faster,” explains Langdalen. “But in the long run, that Høgmoen, Heiki Fretheim, Patrick Byggentreprenør
Larsson, Tomas Rønhovde, Anna CLIENT: Fredensborg AS
proved disastrous, because the salt corroded the rebar, leading to spall-
Sommarstøm, Erlend Eidsaa, Ellen
ing.” Three years were required to scrape out, treat, and patch the losses, Sjong, Sofie Skoug, Mesi Koponen, SIZE: 101,200 square feet
after which 3 millimeters (approximately 0.1 inch) were shaved off the project architects COST: withheld
surfaces of the entire facade to bring back its initial anthracite sheen. ENGINEER: Bollinger + Grohmann COMPLETION DATE: November
“People ask, ‘What have you been doing?’ because it looks as though CONSULTANTS: Erik Langdalen + 2023
we haven’t done anything here at all,” jokes Norsted about the conver- Jorge Otero Pailos (preservation);
CHECK OUT OUR FEBRUARY WEBINARS
FEBRUARY 1, 2024 @ 2:00 PM EST FEBRUARY 13, 2024 @ 2:00 PM EST FEBRUARY 29, 2024 @ 2:00 PM EST
Profit by Design: A Financial Protecting Patient Dignity: Safer School Design:
Bootcamp for AE Leaders Privacy and Comfort in Solving Current Challenges
CREDITS: 1 AIA LU/ELECTIVE; 0.1 ICC CEU Healthcare Spaces with Best Practices and
This engaging, bootcamp-style webinar is CREDITS: 1 AIA LU HSW; 1 IDCEC CEU/HSW; Innovative Materials
designed to enhance the financial acumen 0.1 ICC CEU
CREDITS: 1 AIA LU/HSW; 0.1 ICC CEU
of AE executives and professionals, The cubicle or privacy curtain has
offering foundational knowledge and Designing safer schools is complex and
been a fixture in clinics, hospitals, and
practical strategies to empower your nuanced. While building codes have
skilled-nursing facilities for decades.
financial management skills. During the yet to adopt a set standard, reputable
They serve a critical function in both
session, you will learn how to interpret best-practice recommendations can help
maintaining patient and resident
crucial financial statements, harness guide building professionals in enhancing
privacy and comfort, and in adding to
technology for efficient financial school security. This course will overview
a pleasing décor.
management, and master the art of these best practices and discuss how
budgeting and forecasting. Additionally, This course lays out some of the major architects can effectively apply them to
you will gain insights into project cost considerations surrounding the use of school design. At the end of the course,
management and optimizing profitability, cubicle curtains, specifically: participants will understand how to plan
while also discovering strategies for a building with multiple layers of security,
• The Healthier Hospitals Initiative and how these layers interact with each other
improving cash flow management through chemicals of concern as it applies to
client relationships and automation. As an and key considerations to make when
privacy curtains. choosing security-rated materials. In
attendee, you will have access to interactive • Factors in employing disposable vs.
polls and valuable downloadable doing so, attendees will be better
washable curtains. equipped to improve the safety and
resources to accelerate your financial • Enhancing patient comfort and healing
mastery with your team far beyond the security their school projects offer.
by employing quieter cubicle curtain
60 minutes we will spend together. track.
Don’t miss this invaluable opportunity
to equip yourself with the knowledge
and tools needed to drive your AE firm
towards sustainable growth and success!
TO REGISTER FOR UPCOMING WEBINARS IN 2024, VISIT

HTTPS://CONTINUINGEDUCATION.BNPMEDIA.COM/WEBINARS
CALL FOR ENTRIES
DESIGN
VANGUARD The editors of Architectural Record are
looking for the best emerging practices to
include in the 2024 DESIGN VANGUARD.
2024 The award recognizes 10 leading young firms

and individuals who represent the promise
of the next generation of architects.
Winners will be selected by an editorial jury

and featured in the June issue.
DEADLINE EXTENDED: FEBRUARY 16
For eligibility and submission details, visit: architecturalrecord.com/call4entries.

E-mail any questions to ARCallForEntries@bnpmedia.com. Include “Design Vanguard” in the subject line.
PHOTOGRAPHY: © MASAKI HAMADA
YUKINOSHITA FARMHOUSE BY 2023 DESIGN

VANGUARD KIYO TAKEDA ARCHITECTS.
WHERE ARCHITECTS GO TO FIND
AND REQUEST LUNCH AND LEARNS
Find these and many more available Lunch & Learn presentations at
ce.architecturalrecord.com/ee
OVERVIEW OF FIREWALLS AND THE HEALTH, SAFETY, AND WELFARE

THE USE OF GLASS MAT GYPSUM OF STRUCTURAL GLASS SYSTEMS
SHAFTLINER PANELS 1 AIA LU/HSW
1 AIA LU/HSW Presented by Enclos Tensile Structures
Presented by Georgia-Pacific
Building Products
SYSTEM-BASED STEEL BUILDING EXPANDING DESIGN OPPORTUNITIES

SOLUTIONS: INTEGRATING AND FUNCTIONS WITH ADJUSTABLE
AESTHETICS, PERFORMANCE, CONCEALED HINGES
SUSTAINABILITY 1 AIA LU/HSW
1 AIA LU/HSW; 1 PDH Presented by SIMONSWERK
Presented by New Millennium
THIN SHELL PRECAST CONTROLLING WATER USE

EXTERIOR WALL SYSTEM IN SUSTAINABLE BUILDINGS
1 AIA LU/HSW; 1 PDH 1 AIA LU/HSW
Presented by SlenderWall Presented by WATTS Water
Technologies, Inc.
AUTOMATED PARKING INNOVATIVE PREFABRICATED

SYSTEMS DEMYSTIFIED SYSTEMS MEET CHALLENGES
1 AIA LU/HSW OF UNIQUE DESIGNS AND
Presented by Westfalia SUSTAINABILITY
Technologies, Inc. 1 AIA LU/HSW
Presented by GATE Precast Company
TOGETHER
WE CAN BUILD A BETTER FUTURE
WE WILL HARVEST
100 MILLION LITERS
OF RAINWATER ANNUALLY
AND SUPPORT
FIVE PROJECTS OCEAN CLEAN-UP
TO PROTECT EARTH’S MOST PRECIOUS RESOURCE
It’s time for more than talk. Through our

Planet Passionate program, Kingspan
is driving energy and carbon out of our
global business operations and supply
chain, as well as increasing our recycling
of rainwater and waste, while also
accelerating our participation in the
circular economy.
LEARN HOW WE’RE

WALKING THE TALK
planetpassionate.kingspan.com
CEU BUILDING RECLADDING
Fresh Faced
PHOTOGRAPHY: © JASON O’REAR (TOP); COURTESY PLANT CONSTRUCTION (BOTTOM)
For three moribund buildings, new envelopes restart the clock.

BY KATHARINE LOGAN
AS COMMERCIAL buildings of the ing number of buildings, recladding can help

mid-20th century dwindle in market appeal, reap fresh value from structure and site,
it’s often their facades that are showing their improve performance and marketability, and
age. Technical components fail; contemporary launch a whole new lease on life.
performance expectations outstrip what Recladding has long been a way to upgrade
earlier materials and methods achieved; a energy efficiency, save on structural material
change of program calls for a change of look; costs, and architecturally rebrand, says Will
an aesthetic expression no longer appeals to Babbington, principal with structural engi-
the market. Meanwhile, the core structure neer and facade design firm Studio NYL, but A NEARLY windowless San Francisco
typically remains sound, and the resources it the greater flexibility and fewer unknowns department store (above) has been
embodies—energy and carbon emissions, associated with new builds have typically transformed by Gensler into a transparent
money, labor—retain their value. For a grow- tipped the balance in favor of new construc- multiuse building (top).
79
tion—until recently. “Now increased aware- THE BASE of 100

ness (and verification) of energy performance Stockton, in San
Francisco, includes
and embodied carbon have led to these fac-
faceted terra-cotta
tors’—along with occupant comfort—becom- tiles (above and top,
ing design drivers that compare in importance right).
with cost and aesthetics,” Babbington says.
PHOTOGRAPHY: © JASON O’REAR (LEFT AND OPPOSITE, 2); COURTESY GENSLER (RIGHT)
“Combined with advances in methods to
measure and manage designs towards these
goals, the industry is seeing a significant
100 STOCKTON BASE DETAIL
increase in reclads and facade retrofits.”
Three recent recladding projects exemplify
this trend. A Gensler-designed overhaul of traffic, and rising crime, but the overhaul of office, and food-and-beverage market of the
100 Stockton, in San Francisco, has enabled a 100 Stockton is one of a number of hopeful future.
former department store to find new life as a new signs for the area. Built in 1974 with Working from the inside out, the design
multi-tenant building. KPF’s reskinning of blank exterior walls and a small central atri- team developed a scheme to provide upper-
660 Fifth, in New York, has repositioned a um for escalators, the former department story retailers with the ground-floor presence
flagging office tower as Class A space. And store “really didn’t have an intentional rela- and designated elevators they’d need to suc-
Snow Kreilich’s modernization of the Arthur tionship to the sidewalk, to the streetscape, ceed. That scheme then informed the rhythm
J. Altmeyer Federal Building, in Woodlawn, to its context,” says Bob Perry, a design direc- of a transparent new facade for the building.
Maryland (in collaboration with HGA), has tor in Gensler’s Bay Area practice. Tasked Prioritizing contextual fit (mandated by
transformed a miserable midcentury office with transforming the seven-story single- municipal design guidelines), the facade
block into a comfortable and desirable work- tenant premises into a property that would be design takes as its parti the organization that
place. flexible and adaptable to multiple uses and many of 100 Stockton’s historic neighbors
San Francisco’s historic Union Square tenants—what Perry calls “a sort of Swiss share—a base, a middle, and a tower, often
district has been troubled recently with a Army knife of leasing”—the designers aimed topped with a crown element—and interprets
dramatic exodus of retailers, declining foot to provide “a base chassis” for the retail, these in a contemporary idiom. Most dra-
AS PART of a unitized curtain wall with
generous glazing (bottom), the upper section of
100 Stockton is clad in extruded terra-cotta
tiles with compound miter-cut frames (right).
matically, the middle element, which in

neighboring buildings typically comprises a
band of facade articulation, is recessed to
create a terrace along each of the corner
building’s two street faces. Above the terrace,
the building envelope lifts at an angle (sup-
ported on a new horizontal truss that trans-
fers wind loads back into the main structure),
making a dynamic gesture of opening toward
the street corner. This occupiable component
of the facade offers building users a fresh
vantage point on the district, and at the same
time signals the building’s new vitality to
passersby.
Just as a careful analysis of neighboring
buildings informed the facade’s composition,
a survey of the historic district’s materials—
light colors, glazed terra-cotta, stone—in-
formed its palette. The frame is clad in light
gray terra-cotta tiles, but with some contem-
porary twists on the classic material. On the
building’s base, a traditional running bond
pattern has been vertically stretched and
scaled so that tile units become larger as they
go higher; for ease of fabrication and assem-
bly, tiles have been slip-cast as large panels,
their edges stepped so that joints feather into
the pattern and mask the regular unitized
construction joints behind the terra-cotta
rainscreen. Taking advantage of the malle-
ability of clay, tile faces have been faceted
along the diagonal, with the result that they
catch the city’s dynamic and atmospheric
light. The upper section of the building is also
clad in glazed terra-cotta, this time using
extruded tiles, compound miter-cut and
assembled into frames, which are then at-
tached to a unitized curtain wall, and lifted
into place. “It’s a really intelligent use of the
process in an unconventional way to meet
the needs of the design intent,” says Karen
Brandt, a senior principal with Heintges
Consulting Architects & Engineers, facade
consultants on the project.
Perry reports that the success of tenants so
far—a restaurant that opened last year, occu-
pying 10,000 newly constructed square feet on
the rooftop, is fully booked weeks in advance; a
workplace, meeting, and event host has taken
two floors—is bringing foot traffic to the
district, and there’s brisk interest from addi-
tional prospective tenants.
Where 100 Stockton had dwindled as a
retail space, 660 Fifth Avenue, a 39-story
81
PIONEERING when it was completed in 1957,

660 Fifth Avenue, in New York, was clad in
uninsulated punched aluminum panels (above).
The main move in that achievement (com-

pleted in 2022) is a new, high-performance
envelope distinguished by outsize glass panels
that span the entire 20-foot column bay. Not
just for the wow factor, these dramatic open-
PHOTOGRAPHY: © RAIMUND KOCH, COURTESY KPF (LEFT AND OPPOSITE, RIGHT); BROOKFIELD PROPERTIES (RIGHT)
ings are a rational response to the constraints
of the existing structure: on the one hand,
4-inch wire-mesh-reinforced floor slabs had
no capacity to bear the weight of a new cur-
tain wall, and, on the other hand, perimeter
columns had capacity to spare. The design
team reached the full-bay solution by incre-
ments, first modeling a 5-foot mullion inter-
val (which would have required supplemen-
tary structure between columns) for a typical
office module, then—asking, “how can we set
ourselves apart from what’s out there?”—a
10-foot interval that aligned with structural
columns and existing intermediate air-distri-
bution columns (which would also have re-
tower-on-podium office building (numbered minum and single-pane glass. “It could have quired additional structure), and, finally,
666 before rebranding) in Midtown Manhat- been a teardown and rebuild,” says Lauren removing those intermediate columns (and
tan, had declined as a workplace. With a Schmidt, a principal in the New York office supplying air from above) to span the struc-
column grid of less than 20 feet (compared to of KPF. “But being able to understand the tural columns uninterrupted.
today’s spacing of 35 or even 45 feet for Class value that’s there—in terms of embodied The approach turned out to be equally
A premises) and 11-foot floor-to-floor heights carbon, a structure that’s still perfectly func- rational from a fabrication perspective. Work-
(low by contemporary standards), the building tional, and a floor-area ratio that wouldn’t be ing with Front as the facade consultant, the
struggled to attract tenants. Not helping was permitted under today’s zoning—and upgrade team learned that jumbo-lite glass comes off
the building envelope—pioneering when it it to something that can compete with new the production line with a height of 10½ feet,
was built, in 1957—comprising unsealed and construction is something we were all hoping which would work perfectly for the floor-to-
uninsulated modular panels of punched alu- to achieve.” ceiling units, and a width of 19 feet, 1 inch,
THE REVAMP of 660 Fifth Avenue by KPF headquarters of the Social Security Adminis- The renovation, completed as part of the
includes outsize 20-foot-long glazing panels tration (SSA), built in 1959 and unimproved U.S. General Services Administration’s
(opposite, left, and both above). since. With a poorly insulated envelope of cast Design Excellence Program, faced significant
concrete and high strip windows, and an constraints. These included a tight budget,
which meant that the fabricator would need interior layout of double-loaded corridors and the vagaries of an existing structure (which
to trim just once, for the 18½-foot width perimeter offices that pushed support staff to offered up some severe variations in tolerances
required. Making only one cut resulted in less the middle, access to daylight and views was for the recladding to accommodate), security
handling and less glass waste, which also limited throughout, and thermal comfort was criteria, and limited ability to upgrade the
made the wider span more economical com- conspicuous by its absence. “I recall moving environmental-control system, due to the
pared to a 5-foot module. And with 75 per- from one side of the building to the other building’s tie-in to an existing central plant
cent fewer mullions (which is where thermal and having a temperature swing of about 20 that was housed in its basement.
bridging occurs), the double-glazed units and degrees,” says Matthew Kreilich, design On the plus side, the east–west orientation
their frames achieve a U-value that’s equiva- principal at Snow Kreilich, of his initial site of the building’s length was ideal for designing
lent to a 5-foot module with triple glazing. visit. “Occupant experience was a major the facade to maximize passive energy perfor-
On top of that, the speed of the large panels’ driver,” adds Kathryn Van Nelson, a senior mance. Using a cost-effective unitized curtain
installation (using a tower crane because there associate at the firm. wall that integrates floor-to-ceiling low-E
was no place on the building strong enough to
set the panels down) took the entire team by
surprise: by the time would-be spectators
stopped by in late morning, day one’s work
was already done.
[3533 mm] (MODULE HEIGHT)
[3200 mm] (GLASS HEIGHT)
As a marker of the success of the reposi-

tioning, even with its tighter-than-preferred
GLASS WASTE
column grid, the once largely empty building

10′-6″
11′
now competes with more typical Class-A

PHOTOGRAPHY: COURTESY KPF (TOP, LEFT)
space. “People you bring to the building

immediately understand how it’s different—in
a quality way,” Schmidt says. “It becomes
something that attracts people who are ex-
cited about enjoying good space.” STANDARD AVAILABLE
GLASS SIZE = 3.2M X 6.0M
Even when there’s no need either to change
18′-63∕8″
a building’s program or to compete for new [5648 mm] (GLASS WIDTH)
tenants, sometimes it’s just time for an up- 19′-1″

[5817 mm] (MODULE WIDTH)
grade. That was the case for the Arthur J.
Altmeyer Federal Building, the 10-story FIFTH AVENUE FACADE PANEL DETAIL
83
out the design and fabrication process, on field

tests, lab mock-ups, and whole-building air-
leakage testing. “The enclosure is generally the
most important part of the mechanical system,”
says Studio NYL’s Babbington. “Given the
tight constraints with this project, we had to
make sure that was true.”
As a result of the modernization (which
included reconfiguring the interior layout),
one of the most unpopular buildings on the
SSA campus has become the most loved,
Kreilich reports. “To be able to move from
space to space and not have a temperature
swing, it’s a big deal,” he says. “And the im-
pact of bringing in floor-to-ceiling glass,
opening up the floor plates, rethinking the
stairwells, and connecting to new, Olin-
designed gardens is that now everyone wants
to move into that building.”
The building enclosure is arguably archi-
tecture’s hardest-working system. Done well,
it keeps out the weather, lets in daylight and
views, links indoors and out, maintains ther-
mal comfort, expresses function, tectonics,
and identity, and contributes to the vitality of
IN MARYLAND, Snow
Kreilich replaced the
the public domain. As mid-20th-century
thermally inefficient buildings come up for renewal, projects like
cast-concrete 100 Stockton, 660 Fifth, and the Altmeyer
envelope (left) on a Building demonstrate what a new envelope
1959 federal office can do to reinvent them as virtually new
building with a skin of buildings. n
glass and vertical
aluminum panels
(above).
To earn one AIA learning unit (LU), including one hour
of health, safety, and welfare (HSW) credit, read “Fresh
Faced,” review the supplemental material found at
PHOTOGRAPHY: © HALL+MERRICK/KENDALL MCCAUGHERTY (TOP); COURTESY SSA/GSA (BOTTOM)

architecturalrecord.com, and complete the quiz at
continuingeducation.bnpmedia.com. Upon passing the
test, you will receive a certificate of completion, and
insulated glass and anodized aluminum mul- pression as well as protection to the facade your credit will be automatically reported to the AIA.
lions and panels, the new facade varies in composition. On the east and west facades, Additional information regarding credit-reporting and
opacity from elevation to elevation in response opacity increases even further to guard continuing-education requirements can be found at
to insolation (the amount of solar radiation against low-angle solar gains. An applied continuingeducation.bnpmedia.com.
reaching a surface). “It seems simple that you ceramic frit, configured to account both for Learning Objectives
don’t just put the same facade around the solar orientation and for free shading from 1 Outline the characteristics that make many
entire building,” says Kreilich, “but, back in nearby buildings and mature trees, further midcentury facades obsolete.
the Modernist era, that’s what we did. Either mitigates solar gains as well as glare.
2 Discuss recent construction and design-industry
we weren’t conscious [of the energy implica- Essential to the success of the modernization
trends that are making building recladding a more
tions], or maybe we were just stubborn.” was a collaborative approach to design, says
attractive practice than it once was.
North elevations typically aren’t consid- Van Nelson. Working closely with the project’s
ered to need sun protection, but the new mechanical consultant, curtain wall fabricators, 3 Describe the recladding strategies for three
envelope’s meticulous design accounts for the and Studio NYL as the facade consultant, the commercial projects and explain how the new skins
fact that, between the spring and fall equi- architect fine-tuned the envelope design to improved performance and marketability.
noxes, the sun rises north of east and sets reconcile multiple variables. To ensure that the 4 Discuss how the three projects addressed budget,
north of west. Across the north facade, final product performed as designed, a build- construction, and structural constraints.
which is the building’s main face, vertical ing-enclosure commissioning professional,
AIA/CES Course #K2402A
aluminum panels widen to increase opacity WDP & Associates, reviewed the installation,
as they approach east and west, adding ex- conducting third-party peer reviews through-
SUBMIT YOUR PROJECTS!
Record
The editors of Architectural Record are now accepting
entries for RECORD HOUSES. This annual issue show
cases residential design that upends expectation,
pushes disciplinary limits, and redefines established
Houses
vocabularies in imaginative ways.
Winning projects will be selected by an editorial jury

and featured in September.
2024 DEADLINE TO SUBMIT: MAY 1, 2024
For submission details, visit architecturalrecord.com/call4entries

E-mail any questions to ARCallForEntries@bnpmedia.com. Include “Record Houses” in the subject line.
PHOTOGRAPHY: © CESAR BEJAR
RECORD HOUSES 2023 WINNER:

ENSO HOUSE II, SAN MIGUEL DE
ALLENDE, MEXICO, BY HW STUDIO.
The DESIGN:ED Podcast by Architectural Record takes you inside
the profession through informal conversations with the field’s leading
architects and designers. Tune in to hear inspiring stories from design
leaders, posted twice a month.
Hosted by Austin, Texas–based architect Aaron Prinz, Architectural

Record’s DESIGN:ED podcast features renowned architects such as Jeanne
Gang, Bjarke Ingels, Thom Mayne, Deborah Berke and Billie Tsien, as well as
rising professionals like Jesus Robles, Pascale Sablan and Julia Gamolina.
JANUARY PODCAST GUESTS:

Ted Flato & David Lake and Brett Steele
Ted Flato & David Lake Brett Steele Julia Gamolina

Lake Flato USC School of Architecture Madame Architect
Nathalie de Vries Lakisha Woods Níall McLaughlin

MVRDV AIA CEO Níall McLaughlin Architects
Steven Davis & Bjarke Ingels & Liz Lambert Shohei Shigematsu
Thomas McCarthy OMA New York
Davis Brody Bond & Page
Now all DESIGN:ED podcasts qualify for AIA LUs. Listen to conversations with design legends and emerging
stars while earning CEUs. After listening to the podcast, visit ce.architecturalrecord.com/podcasts and take a
quick quiz to earn one learning unit towards your license requirements.
PLATINUM SPONSORSHIP:
www.architecturalrecord.com/designed-podcast
SUBSCRIBE: Apple Podcasts | Spotify | iHeartRadio FOLLOW: Instagram
BECOME AN AWARD-WINNING ADVERTISER
Reserve your ad space today
Want to be part of the 2024 Advertising
Excellence Awards competition? » All ads will be automatically entered,
carefully reviewed and judged by a blue
ribbon panel of knowledgeable architects.
This is your last chance to qualify:
• Advertise in the 2024 March or April print editions of Join us virtually in 2024 for a panel discussion where
Architectural Record (full page or larger) our jury of architects will discuss what they look for
in advertising. This is the best opportunity to receive
– OR – feedback on your marketing efforts from your exact
target audience.
• Run digital ads between now and the end of March
on architecturalrecord.com Contact your sales representative to reserve
your space today!
March Ad Close: February 5, 2024
April Ad Close: March 1, 2024
architecturalrecord.com/adawards
Sustainability in Practice
REGISTER TODAY MEET THE SPEAKERS
APRIL 17 | BOSTON
MIT Media Lab
12:00pm to 5:15pm followed by a reception
David Lake, FAIA and Ted Flato, FAIA
Co-Founders, Lake Flato Architects
This special half-day event, organized by Architectural Record in 2024 AIA Gold Medalists
collaboration with the Massachusetts Institute of Technology,
offers a “master class” in sustainable design and how to make it
an integral part of a firm’s DNA, led by architects who have been Carol Ross Barney, FAIA
doing just that for decades. Design Principal and Founder
Ross Barney Architects
This event 2023 AIA Gold Medalist
is being Moderators:
submitted Josephine Minutillo, Editor in Chief
for up to Joann Gonchar, FAIA, Deputy Editor
6 LUs Mario Cucinella
Seating is complimentary but limited. Founder & Creative Director
MCA - Mario Cucinella Architects
Felix Heisel
Director
Cornell University’s Circular
Construction Lab
RecordontheRoad.com
LUNCH & LEARN SPONSOR IN PARTNERSHIP WITH EXHIBITOR SPONSORS
KITCHEN & BATH
DROO deftly blends

a demonstration kitchen
into a London rowhouse.
BY CHRIS FOGES
PHOTOGRAPHY: © HENRY WOIDE
89
KITCHEN & BATH
KITCHENS IN LONDON’S Victorian plot on one side, where a shed previously kitchen, along with a laundry, and doubles as a
rowhouses were originally small, strictly func- stood, but pulling back on the other. A wall 66-square-foot pantry where less telegenic
tional, and hidden away. Every year, thousands of glass facing onto the garden is angled kitchen equipment can be kept out of sight.
of them are extended into backyards to provide around a single curved pane in the center, Choi had firm ideas about how the kitchen
what families want today: a place to eat, work, enough to soften the appearance of the new should work, from the depth of drawers to the
relax, and entertain—and maybe make an addition and ease it into its setting. (It also proper place for every utensil. She also wanted
architectural statement too. When vegan cook carries a subtle hint of the fluid plans found push-operated cabinets without visible han-
Catharina Choi relocated from Brazil in late in Brazilian Modernism.) Above, a minimal dles, but was concerned that they could pop
2020 with her husband, and found a 1,680- white metal canopy extends 20 inches past open if visitors leaned against them. DROO
square-foot house to renovate in the East the glazing to throw off the British rain. solved the problem by recessing doors and
Dulwich neighborhood, she had one addi- Cabinets and open shelves that line the drawers within the cabinet boxes, whose
tional need for her architect, DROO, to pro- longest flank wall were custom-made from exposed edges add subtle texture to the join-
vide for—a kitchen that would double as a oak-veneered plywood and form the main ery. Where handles are an advantage, they are
studio for her culinary YouTube channel. backdrop for the client’s videos. “Catharina is integrated in additional ribs that blend seam-
“That influenced everything, from display to keen on clean eating and wanted something lessly with the framing.
how you move through the room,” says natural and neutral that still had character Elsewhere, the aim was elegant simplicity.
DROO cofounder Amrita Mahindroo. “We and warmth,” says Mahindroo. The long run Cabinets within a large kitchen island are
approached it almost as a piece of theater.” extends into an intimate reading nook formed neatly composed around a camera-facing
The first challenge was to create sufficient by the curving facade, allowing cameras a cooktop, which has downdraft ventilation, so
space without losing too much of the yard. wide-angle view. At the other end, the wood- no hood clutters the view. Finishes are plain,
The 230-square-foot extension is roughly work continues into a passage that leads to with white quartz countertops, pink tile back-
L-shaped, extending almost to the back of the the dining room. It was created from the old splash, and polished concrete underfoot, but
The kitchen doubles as a studio for the client’s
cooking show (opposite and above). Expansive
glazing provides daylight (right and bottom).
they are dappled with daylight from circular

skylights and coming through gauzy drapes
so that surfaces are animated. Occasional
accents, like the brushed brass faucets over
twin sinks, provide color, as of course does
the food prepared for guests or viewers.
While the demands of content creation have
produced a more professional kitchen than is
typical in domestic settings, it is also one well
equipped for daily life, with hard-wearing
materials and considered connections to the
rest of the house and the garden—a functional
hub for a family home, served up with style. n
Credits
ARCHITECT: DROO Architects — Michel da
Costa Gonçalves, Amrita Mahindroo, principals;
Harikleia Karamali, Clara Saade
ENGINEER: AKSESS
CONSULTANTS: Cavendish Surveying (party
walls); SWECO (CDM); Assent (building control);
Elite Renewables (air source heat pump)
GENERAL CONTRACTOR:
Tetra Building Ltd
CLIENT: Catharina Choi
SIZE: 232 square feet
COST: withheld
COMPLETION DATE: 2022
Sources
GLAZING: Maxlight
CABINETWORK AND CUSTOM WOODWORK:
Szubert Carpentry Services
TIMBER FLOORING: Havwoods
STONE: Miccoli; London Worktops Direct
91
KITCHEN & BATH
BAAB Architecture and Buildings’s Inside-Out Bath

in Upstate New York turns a paradigm on its head.
BY MATTHEW MARANI
AGING IN PLACE takes some getting used

to; one must adjust to new limitations in
mobility, especially in navigating household
fixtures and fittings, such as showers and
wastebaskets. While common solutions often
include unsightly grab bars and the like, there
is another way. In Kerhonkson, New York,
BAAB Architecture and Buildings (BAAB)
recently completed the Inside-Out Bath,
which, in its open layout, allows for seamless
movement throughout the space.
The clients are former residents of the
Bronx who purchased their Catskills home in
2016. Over the succeeding half decade,
BAAB has completed several interventions on
the small property, such as the reconfiguration
of the kitchen and living space and the instal-
lation of a deck. But the 75-square-foot pri-
mary bathroom remained a quandary for the
clients; it is located deep within the house,
without direct daylight. The aim for BAAB
was not only to open the space, to ease a feel-
ing of claustrophobia, but to render it suitable
for the clients, who are in their late 70s and
early 80s.
The Inside-Out Bath achieves this goal
through clever design decisions, the most
conspicuous being the “totem,” placed centrally
in the room, which consolidates the sink,
medicine cabinet, shower, and toilet in a single
7-foot-tall monolith. That move not only frees
up precious square footage but makes for a
completely barrier-free bathroom, where the
users are less likely to slip and fall; a shower
bench and a turquoise-colored steel grab bar
provide additional safety. The sink and toilet
are designed for ease of use in a wheelchair,
should the clients require it in the future.
For BAAB founder Ted Baab, it was also
important to incorporate lifestyle details from
the old bathroom into the new. “It is not trying
to tell someone that they must live differently
or get rid of stuff for a particular aesthetic, but
to find a way to fit all those things into some
sort of playful purpose,” he explains. To that
end, a magazine rack is tucked away above the
toilet, which also provides sufficient room for a
night-light. The room itself is, for the most
part, inlaid with iridescent, pearl-like tile that
catches the light of a hallway-facing clerestory
window, a choice that brings the outside into
this formerly dark space. n
The “totem” consolidates bathroom functions (opposite). The bathroom
includes a fixed and handheld showerhead (left). Fittings, such as a toilet
paper holder, are embedded in the totem (above).
Credits
ARCHITECT: BAAB
Architecture and Buildings —
Ted Baab, principal
GENERAL CONTRACTOR:
Feinberg Construction
CLIENT: withheld
COST: withheld
COMPLETION DATE:
December 2023
Sources
GLAZING: Guardian
FLOOR AND WALL TILE:
Ocean Mosaics
PHOTOGRAPHY: © GABRIEL ZIMMER STUDIO
LIGHTING: WAC Lighting

PLUMBING: Kohler Verticyl
(sink); Duravit (toilet);
Hansgrohe Raindance (shower)
FLOOR PLAN AXONOMETRIC
93
KITCHEN & BATH
Mork-Ulnes Architects nestles an ADU with a flexible

kitchen into its Bay Area hillside.
BY MATTHEW MARANI
CALIFORNIA can’t seem to get enough of the accessory dwelling

unit (ADU). The number of permits submitted and approved in the
Golden State for the secondary residence has jumped from just under
9,000 a year in 2018 to nearly 30,000 in 2022 when more homeowners
recognized it as a key tool to address a dire housing shortage, for a
secondary income, or just a means to maximize space. And while
design was often an afterthought for the granny flats of yore, architec-
ture firms are increasingly taking on such projects, and deftly navigat-
ing their tight footprints with clever sleights of hand. The Crest ADU
in Marin County, designed by San Francisco– and Oslo-based firm
Mork-Ulnes Architects, is a thoughtful exemplar of this larger trend.
The one-and-a-half story project is located on a hillside, atop the
foundation slab of a demolished garage built in the 1950s. The ADU
serves as a temporary home for the client, a family of three, while the
main house undergoes renovation. The limitations of the platform—it
measures just over 300 square feet, with a sleeping loft above adding
100 more square feet—impelled the architects to take what they term a
“Swiss Army knife” approach to the project, packing in as much over-
lapping program as possible.
The primary living space, opening onto an expansive balcony makes
for a sizable and flexible room, with a movable kitchen island and a
Murphy bed. “The kitchen island is placed on
casters that allow it to roll around, so they can
create additional space to have kids playing on
the floor,” explains Mork-Ulnes project lead
Robert Scott, “or it can be set up as a dining
table or placed against the wall when not in
use.” The fixed kitchenette along the wall is
topped by a 10-foot-long sintered-stone coun-
tertop and a white tile backsplash.
Unvarnished ply boards clad the interior
and face the cabinet banks above and below
the counter; their soft hue is complimented
by abundant daylight that flows from a
yawning clerestory window. “Combining the
casework with the wall finishes instead of
having drywall further decluttered the
space,” notes principal Casper Mork-Ulnes.
The clients are audiophiles, and the design
team seamlessly tucked concealed speakers to
the left and right of the clerestory-adjacent
cabinets. A half bath, also finished with
plywood, is folded into the southwest corner
of the ADU.
The shower room, like the primary living
space, makes use of its surroundings to visu-
ally elongate a limited volume. To the south,
the shower opens to the abutting hillside and A generous balcony
its tree canopy; that window to nature is takes advantage of
the Bay Area’s mild
emphasized by floor-to-ceiling pine-green climate (opposite,
tiling and then multiplied by a bathroom- top). The ADU is
door mirror. On the other side of the room, located on a steep
an acid-etched glass door ensures privacy hillside (opposite,
while allowing a view of the color outdoors. bottom). A Murphy
The result is an economy-size space that bed helps maximize
space (above).
punches above its weight. n
Floor-to-ceiling green
tile brings the
Credits outside in (left).
ARCHITECT: Mork-Ulnes Architects — Casper
Mork-Ulnes, Phi Van Phan, Robert Scott, design
leads; Kaoru Lovett, job captain
ENGINEERS: David Strandberg (structural);
Adobe Associates (civil)
GENERAL CONTRACTORS:
Damner Construction; Axelson Builders
COST: withheld
COMPLETION DATE: Spring 2023
Sources
MASONRY: Cembrit (fiber cement panels)
MOISTURE BARRIER: Solitex Mento 1000
(weather-resistant barrier); Intellos Plus (vapor
PHOTOGRAPHY: © BRUCE DAMONTE
retarder)
SOLID SURFACING: Caesarstone
PANELING: Seidman Woodworks
FLOOR AND WALL TILE: Daltile
SPECIAL SURFACING: Duraamen (Skraffino
Micro Topping)
PLUMBING: Hansgrohe (faucets & shower set);
Blanco (kitchen sink); Duravit (toilets)
95
KITCHEN & BATH
Gray Organschi Architecture dignifies a public

bathroom in the Bronx with thoughtful design.
BY PANSY SCHULMAN
NEW YORK’S reputation for architectural shuttered 130 such public facilities, tightening sun. Approaching it from a distance across
excellence is not built on the quality of its an existing crunch. the artificial turf, the building does not im
public restrooms. Finding one is a struggle in A public restroom by Gray Organschi mediately advertise its purpose—it could
itself: the city has only four per 100,000 Architecture, completed last fall in the easily be transplanted to the Hudson Valley as
people (half the national average, which itself Bronx’s newly expanded Starlight Park, is a a quirky home for a young couple relocated
lags far behind other countries’). If you are so welcome addition to the city’s embarrassingly from Brooklyn. But two bright yellow doors
lucky as to come across one, the reward is limited portfolio. The 1,150squarefoot on the building’s northeast side clearly signal
often tainted by peeling paint, shoddy sign graybrick building is perched on a small hill its purpose and lead to women’s and men’s
age, ominously faulty lighting, or, increas overlooking a gleaming field, the two conical restrooms, with the other half of the building
ingly, a rusted padlock that prevents entry points of its zincclad roof spread like the designated for storage space and an office for
altogether. During the pandemic, the city wings of a city pigeon preening in the winter park personnel.
The project’s unusual roof shape (opposite)
results in vaulted ceilings capped with a small
skylight (right), bringing light and air into the
restrooms’ interiors (bottom) without
compromising privacy.
“We wanted to bring a celebratory scale to

the project,” says Alan Organschi, who co-
founded the firm 20 years ago with Lisa
Gray. “There’s a tendency to downplay the
presence of public toilets, but we felt that
doing so would diminish the park itself.” The
project’s presence and visibility aid with
safety concerns but was also needed to stand
up to the challenges of its setting: Starlight
Park is wedged against the roaring traffic of
the Sheridan Expressway, behind which
tower blocks of housing projects. “There’s a
sharp transition from a very urban environ-
ment to nature,” says Gray. “The building
needs to help with that, so we put it in the
center of the park, and let it be a marker for
the public.”
The 13-acre site, which wanders along the
banks of the Bronx River, was originally
home to an amusement park, which operated
from 1920 until its shuttering in 1940. In the
1950s, the development of the expressway
served to cut off the Crotona Park East neigh-
borhood’s access to the waterfront. Starlight
Park, the final section of which opened last
spring, is the result of a decades-long repara-
tive project, and millions of dollars of city-
funded cleanup and construction.
The restroom interiors also run contrary to
the typical expectations of a city facility. Tiled
in sunny yellow and an oceanic blue, ladies’
and men’s respectively, the pair of two-stall
restrooms have an unanticipated airiness,
courtesy of the natural light pouring in from
the small skylight at the apex of the steeply
pitched roof.
Despite the heightened design, accommo-
dations had to be made in line with the
budget and function of a public restroom—
for instance, the reflective metal plates that
substitute for mirrors. On my visit, two
months after opening, the project bore no
signs of vandalism, and the restrooms them-
selves seemed clean and well maintained,
aside from the fading odor of a recently
smoked cigarette.
Gray and Organschi are not naive about
PHOTOGRAPHY: © JASPER LAZOR
the project’s continued immaculacy. “There’s

always a question about what’s going to hap-
pen after a public project opens—how it
might get marked, you might say, by the
community,” says Gray. “We hope we gave it
enough identity that people might not neces-
sarily want to change the way it looks.”
97
KITCHEN & BATH
The sloping roof directs rainfall into a tumbled Credits Sources

rock formation on its park-facing side (above,
ARCHITECT: Gray Organschi Architecture — MASONRY: Glen-Gery
right and top) to water surrounding native Elizabeth Gray, Alan Organschi, principals; Karen
plantings (above). ROOFING: VMZINC
Scott, design director; Mike Krop, design lead;
Noah Silvestry, Millie Yoshida, designers GLAZING: Oldcastle BuildingEnvelope
Public restrooms—often associated with WALL TILE: Daltile
CONSULTANT: Starr Whitehouse Landscape
the needs of the unhoused and the poor, and Architects and Planners (landscape) FLOORING: Stonhard
an ever shrinking priority in municipal bud- GENERAL CONTRACTOR: RENU Contracting TOILET PARTITIONS: ASI Global Partitions
gets—represent, in more ways than one, what CLIENT: New York City Department of Design and PAINTS & STAINS: Benjamin Moore
we’d prefer to hide away. In this context, Construction
SKYLIGHTS: Kingspan
Starlight Park’s dignified toilet is a statement OWNER: New York City Department of Parks and
DOORS: Steelcraft
of sorts, a call to bring communal needs to the Recreation
PLUMBING: American Standard (sinks, faucets &
fore and, hopefully, set an example as the city COST: withheld
toilets); Haws (drinking fountain)
works to amend a severe deficiency. n COMPLETION DATE: October 2023
PRODUCTS Kitchen & Bath
COLUMN
COLUMN, designed by Inga Sempé, is kitchen cabinetry
characterized by round-edged surfaces and handles. The
system is offered in a variety of materials, such as white
ash, and in colors like Pistachio, and can be configured
according to user needs and preferences.
reformcph.com
Systemat Sideboards & LED Lighting

These sideboard-and-LED-lighting systems deliver
comfort and utility to any home kitchen. The side-
boards, available in four varieties, with 66 front
ranges and four options for furniture feet, allow
designers and homeowners to holistically plan their
kitchen environments. The LED smart-home-enabled O-XY
lighting system can be embedded within Hacker’s The O-XY faucet, designed by Marco Williams Fagioli
Slim Line Drawers, or as recessed spotlights. for Fantini, makes an impression with its Cartesian
hackerkitchens.us linearity and sleek form. The single-lever sink tap is
topped by a textured rectangular handle that, with
its interwoven pattern, provides a firm yet
comfortable grip.
fantini.it
Innate
Smart toilets can often be
clunky messes. Kohler’s
Innate, with its streamlined
one-piece design, offers a
more elegant solution. It
incorporates several smart
features, including a motion-
Modular Cooktop Family
activated lid and automatic
This induction cooktop series offered by Fisher & Paykel is highly
flush, a soft nightlight, an
customizable. The induction module is offered in 36", 30", 24",
automated stainless-steel
and 15" configurations and can be paired with both an auxiliary
cleaning wand with UV light,
induction and teppanyaki cooktops. It is connected to Fisher &
and automatic deodorization.
Paykel’s SmartHQ app, which allows for precise cooking control.
fisherpaykel.com kohler.com
99
PRODUCTS Kitchen & Bath
AirJet Shower Drying

System
Slippery shower floors are
both a safety hazard and
conducive to the growth of
mold. AIRMADA’s AirJet
Shower Drying System
tackles that excess moisture
with custom layouts of
air-emitting nozzles installed
in bathroom ceilings and
walls, powered by an air-
blowing system that can be
placed up to 100' away.
airmadadry.com
Specialty Finish
Collection
Infinity Drain, the producer of
design-centric shower drains,
has launched its Specialty
Finish collection, which offers
Atria
Atria, designed by Studio Delineo and Massimo Rosati,
users the ability to match
is the first kitchen system developed by Abimis specifi-
trending bathroom finishes.
cally for outdoor use. It is made of stainless steel and
The manufacturer studied its
includes an induction hob, integrated sink, and ample
existing custom orders and
counter space and storage.
developed five new finishes:
abimis.com
Matte White, Gunmetal, Satin
Champagne, Polished Gold,
and Polished Brass. They are
available for all existing
products, including the
slotted drain (pictured).
infinitydrain.com
Georgetown Pull-Down
Kitchen Faucet
This faucet, developed by Kova,
with its exposed-spring design
and pull-down spray head, helps
to bring the efficiencies of a
commercial kitchen to the home.
It is fashioned of solid brass, Brixen
affording long-term durability and The Brixen sliding shower-door system is a component of the
reliability. Finished in either latest generation of bathroom products developed by CRL. The
brushed nickel or polished stainless-steel system uses a top-roller fitting with four rollers
chrome, it is resistant to for each door and is available in five finishes: brushed bronze,
corrosion and tarnishing. brushed stainless steel, matte black, polished stainless steel,
kovaproducts.com and satin brass.
crlaurence.com

© Osman Rana
Every day, materials that are made
with forced labor make their way into
our buildings, homes, and landscapes.
Design for Freedom is a movement to address this pressing humanitarian
crisis by reimagining architecture, raising awareness, and inspiring responses
to disrupt forced labor in the building materials supply chain.
join the movement to disrupt forced

labor in the building materials supply chain
• Read the Design for Freedom Report to learn how forced labor is embedded into our buildings.
• Utilize the Design for Freedom Toolkit, a practical resource for professionals to incorporate
an anti-slavery ethos into their practices.
• Demonstrate your organization’s commitment to ethical and sustainable sourcing in the
office with Grace Farms’ premium coffees and teas that give back 100% of profits to
support Design For Freedom.
• Sign up for the Design For Freedom monthly newsletter.
Through all our collective efforts, we can transform the construction industry,
compel change, and elevate human dignity.
Visit designforfreedom.org or scan the QR code

to learn more and access our free resources.
In this section, you will find one compelling course highlighting creative solutions for tomorrow’s buildings brought to you by industry leaders.
Read the course, and then visit our online Continuing Education Center at ce.architecturalrecord.com to take the quiz free of charge to earn credits.
p104
Cost Efficiency and Budgeting with Extruded Aluminum Trim BE PM RE
Sponsored by Tamlyn
CREDIT: 1 AIA LU/HSW; 0.1 ICC CEU; 1 GBCI CE HOUR; 1 IIBEC CEH
CATEGORIES
BE BUILDING ENVELOPE DESIGN PM PRODUCTS AND MATERIALS RE RESIDENTIAL
Courses may qualify for learning hours through most Canadian provincial architectural associations.
103
EDUCATIONAL-ADVERTISEMENT
Examples of different
metallic color options in
an anodized finish.
Cost Efficiency and CONTINUING EDUCATION
1 AIA LU/HSW 0.1 ICC CEU
Budgeting with Extruded 1 GBCI CE HOUR 1 IIBEC CEH
Aluminum Trim Learning Objectives

After reading this article, you should
be able to:
Thoughtful selection and investment in 1. Describe the process of life cycle cost
analysis and how it can be used to
materials can yield positive results when guide design choices for long-term
specifying for multifamily housing value.
2. Explain why investing in higher-quality
Sponsored by Tamlyn | By Juliet Grable and durable extruded aluminum will
reap financial benefits for building
owners and occupants over the
duration of the building.
3. Discuss the various types of coatings
and finishes available on extruded
M
aluminum trim and how each type can
aterial performance and sustain- when you compare the full lifetime cost of
impact cost, durability, and overall
ability are two top requirements extruded aluminum to other materials. In this project goals.
in modern architectural design. course, we will compare the performance and 4. Describe the inherent characteristics
Whether we’re talking about the overall sustainability of extruded aluminum trim to of aluminum that can help promote
design or individual interior and exterior other options, focusing on the long-term value sustainable design and successful
material selections, choosing durable, long- that this material choice brings to multifamily integration with green building
lasting products and systems that support projects. We will also explore how to use Life programs.
human and environmental health will pay Cycle Cost Analysis to compare various trim
dividends across the lifetime of the project. options, and we will explore the pros and cons To receive AIA credit, you are required to
Trim is a key design choice that contrib- of various coatings and finishing options. read the entire article and pass the quiz.
utes significantly to the aesthetics of multi- Visit ce.architecturalrecord.com for the
family buildings. Although there are many TODAY’S MULTIFAMILY BUILDINGS: complete text and to take the quiz for free.
options available, extruded aluminum rises A GENERATION APART
to the top. Not only does aluminum have the The multifamily building market includes
design flexibility to enhance just about any an aging stock of poorly designed (and even
project, but it is also a sustainable and durable more poorly finished) multifamily units,
material. Its performance characteristics most built in the 1970s and 1980s. This
make it a practical and affordable choice unfortunate legacy is the consequence of a AIA COURSE #K2401K
for both exteriors and interiors, especially mindset focused on short-term gain: how

EDUCATIONAL-ADVERTISEMENT COST EFFICIENCY AND BUDGETING WITH EXTRUDED ALUMINUM TRIM

many units can be crammed on a given site
for as little as possible?
Today’s multifamily building sector is
no longer a race to the bottom, and both
owner and occupant expectations are higher.
Retirees, millennials, and Gen-Zers don’t
mind a smaller square footage of living space,
but they are also looking for more amenities
and shared community spaces, and they are
drawn to mixed-use projects, with shopping
or workspace located conveniently on site.
They are also concerned with sustainability
and are much more aware of the health
impacts of their surrounding environment
than generations before. And of course,
aesthetics matter, too, with clean, modern The first layer of powder coat is applied to the extruded aluminum trim profile in a black-
lines and high-quality materials appealing to gloss finish.
these tech-savvy residents.
In this course, we will discover why
extruded aluminum trim, whether used in price tag cost more in the long run. Take Before conducting an LCCA, you will
the interior or exterior, contributes to the flooring—an important consideration for have to work with the project owner to
long-term value of multifamily projects. multifamily projects. Cheap carpeting may determine the appropriate life span of
First, let’s take a closer look at the total costs not cost much up-front, but it will likely ownership—20 or 30 years, for example.
of ownership, and the critical role of the life need replacing every three to five years, Some building components, such as
cycle cost of key material choices. and it requires frequent maintenance such lighting and heating systems, for example,
as steam cleaning. In contrast, a durable, come with obvious operational costs, since
Pay Now or Pay Later stain-resistant flooring product may outlast they require energy to operate. Others, such
It’s important to understand that the construc- the carpet several times over, and require as trim and cladding, do not. However, the
tion costs of a multifamily building represent a less maintenance, to boot. maintenance costs for these materials can be
fraction of the total cost of owning it over the There is a strong relationship between quite high, especially if the material requires
long term. Over time, operation, repairs, staff sustainability and long-term value. A build- full replacement during the ownership life
salaries, replacement or upgrades to materials ing system that requires less maintenance cycle. Notably, maintenance refers to routine
and systems, utilities, and the cost of disposal and that lasts longer doesn’t just save money, tasks, such as cleaning, to periodic main-
and recycling eclipse the initial cost of con- but valuable resources, too. tenance, such as a deep cleaning, touch-up
struction. And that’s not including costs that painting, or minor repairs.
are typically out of the owner’s control, such as What is Life Cycle Cost Analysis? Disposal and recycling costs will vary
property taxes and interest payments. Life Cycle Cost Analysis, or LCCA, is a tool depending on the type of material and
The same is true of specific building sys- that allows you to calculate the full cost of available recycling facilities.
tems or finish materials: their initial, or first ownership and to compare one building Don’t worry if you can’t pinpoint every
cost, is just the beginning. There are several material or system to another. cost down to the dime; the goal is to calculate
categories of costs to consider over the lifetime Here is a simple formula for calculating a reasonable estimate of the life cycle costs of
of ownership of these materials, including life cycle costs: products and materials so you can adequately
the initial cost to acquire and install them, compare them. Spreadsheet software can help,
operation costs, maintenance and repair, LCC = C + O + M + D as can online tools such as One Click LCA.
replacement, and disposal or recycling. Where C = Construction, or the initial cost
It likely makes intuitive sense that some of acquiring the product or system
design choices will have a greater impact on O = operational costs
certain costs of ownership. The selection of M = Maintenance costs, including regular Juliet Grable is an independent writer and editor
HVAC systems and windows, for example, and periodic maintenance, repairs, and focusing on building science, resilient design, and
will significantly affect how much energy replacement environmental sustainability. She contributes to
the building uses. It is also not surpris- D = the costs associated with disposal or continuing education courses and publications through
ing that some choices with a lower initial recycling Confluence Communications. www.confluencec.com
For over 50 years Tamlyn has consistently been the leader in creating and developing solutions for the building supply industry. With
XtremeTrim and XtremeInterior, Tamlyn has made it possible to aesthetically trim almost any type of project; interior or exterior with a
wide range of depth options that will fit anything from drywall to fiber cement panels to lap siding! With choices of primed, anodized,
or custom-color matched, thousands of design and color options are possible, allowing architects and users to dramatically improve
their building aesthetics and create modern architectural lines. TAMLYN – When Doing It Right Matters!®
105
DATES & Events
Ongoing Exhibitions
Bijoy Jain/Studio Mumbai: Breath of an Architect
In View: Rebecca Salter at Gainsborough’s House Paris
Suffolk, England Through April 21, 2024
Through March 10, 2024 The Fondation Cartier pour l’Art Contemporain presents an exhibi-
In 1958, the home of 18th-century painter Thomas Gainsborough was tion especially created for the institution by architect Bijoy Jain,
established as an arts center and museum. Following a major renova- founder of Studio Mumbai in India. The multi-room installation
tion and expansion last year, Gainsborough’s House presents the first within Jean Nouvel’s 1994 building explores the links among art,
solo museum show in the United Kingdom dedicated to British ab- architecture, and material composed of architectural fragments,
stract artist Rebecca Salter. The exhibition presents Salter’s ink draw- including stone and terra-cotta sculptures, facades of traditional
ings and watercolors alongside 12 works from the museum’s permanent Indian dwellings, rendered panels, lines of pigment drawn with
collection by Gainsborough, Cedric Morris, and Rembrandt, among thread, and bamboo structures inspired by Shiite funerary monu-
others. See gainsborough.org. ments. See fondationcartier.com.
Changing Our Footprint Out of the Box: Amancio Williams

Copenhagen Montreal
Through March 22, 2024 Through May 21, 2024
The Copenhagen-based firm Henning Larsen offers insight into their For its 2023–24 exhibition series, the Canadian Centre for Archi-
design process for this exhibition at the Danish Architecture Center, tecture delves into the work of architect Amancio Williams (1913–
which explores scalable and climate-friendly architectural solutions for 89), a key figure of modern architecture in Latin America. Opened
the present day. Visitors can explore the firm’s projects in progress and last summer, Out of the Box is structured as a series of three distinct
their research into biogenic materials and unique building technolo- exhibitions, the first curated by Studio Muoto, the next by Claudia
gies, which are paving the way for a sustainable building industry. For Shmidt, and now Pezo von Ellrichshausen, with each guest curator
more, see dac.dk/en. bringing their distinct backgrounds in architectural practice and
history to Williams’s archive of drawings, photographs, correspon-
dence, and models. See cca.qc.ca.
Events
GRIFFOLYN®
DIVISION OF REEF INDUSTRIES, INC. CEVISAMA 2024
Valencia, Spain
February 26–March 1, 2024
REQUEST THE BEST... The leading trade show for the ceramic and natural-stone industry
convenes in the coastal city for a five-day exhibition of the latest
DEMAND GRIFFOLYN. trends and technologies in bathroom products and kitchenware, tile
and stone, and other related goods. The exhibition will be accompa-
nied by a program of talks and networking events. Fore more infor-
CONTROL MOISTURE IN THE mation, see cevisama.feriavalencia.com.
BUILDING ENVELOPE.
E-mail information two months in advance to schulmanp@bnpmedia.com.
VAPOR PROTECTION SYSTEMS
ROOF UNDER SLAB CRAWL SPACE WALL
ROOFING, SIDING, THERMAL & MOISTURE PROTECTION
PVDF ORE FINISHES
NEW | GREEN | $$
PAC-CLAD | Petersen
PAC-CLAD Ore finishes provide designers with
alternatives to expensive and unpredictable natural
metals. These PVDF finishes add an elegant finishing
touch to any project.
Product Application:
• 16 unique finishes
• Available on wall and roof panels, coil and sheet
• Available on steel and aluminum
Preformance Data:
• PVDF finishes never tarnish, discolor or rust
• Backed by an outstanding finish warranty
800-231-6074 • GRIFFOLYN.COM PAC-CLAD.com

800.722.2523 | info@PAC-CLAD.com | IBS Booth C8932

Advertisers Index
Advertiser Page Advertiser Page Advertiser Page
ARCAT 8 Armstrong World Industries, Inc. CVR2, 1 Kingspan Planet Passionate 78
Architectural Record - ACE Mentor 102 AZON 13 Koala Kare Products 11
Architectural Record - 2024 Advertising Bison Innovative Products 44 NanaWall 15
Excellence Awards 87
Bobrick Washroom Equipment INC 5 National Terrazzo & Mosaic Association 2, 3

Architectural Record - Design For
Freedom Summit 101
Coverings '24 22 Pabco Gypsum 37
Architectural Record - Design:ED Podcast 86
DeepStream Designs, Inc. 24 Petersen Aluminum 32
Architectural Record - Education Exchange 77
Egger Wood Products LLC 27 Pilkington North America 7
Architectural Record - February Webinars 75
Endicott Clay Products CVR3 Reef Industries, Inc. 106
Architectural Record - Find us on Social! 6
Goldbrecht 41 Salone del Mobile 28

Architectural Record - Record
on the Road Boston 88

Hormann High Performance Doors 25 Salsbury Industries 36
Architectural Record - Record
on the Road New York 42

Inpro Corporation 38 Skyscraper Museum, The 4
Architectural Record - Tamlyn Academy 43

Kingspan Insulated Panels CVR4 Tamlyn 104, 105
Publisher is not responsible for errors and omissions in advertiser index. R Regional Insert
107
SNAPSHOT
In the British capital, 8 Bleeding Heart Yard ingeniously references

historical context to optimize commercial development. On behalf
of client Seaforth Land, London-based studio Groupwork, led by
Amin Taha, convinced the local planning authority that a bland
1960s office building in a jewelry district could be expanded by
echoing the prewar architecture that once stood on the site. The
designers extended the building rearward and upward—doubling
the leasable area and adding space for a restaurant—and then
PHOTOGRAPHY: © TIM SOAR
enveloped the composite structure in an aluminum mesh that

mimics the stone pediments and lintels of the not-so-distant past.
The ghostly scrim acts as a veil, allowing passersby to appreciate
the presence of the postwar facade—still intact—behind it.
Tim Abrahams
Expanded coverage of this project at architecturalrecord.com.

PAUL & LINDA DEBRUCE HALL
KANSAS CITY, MO
Brick Color: Manganese Ironspot Architect: Hufft
Photo by Hufft
YOUR VISION
COMES FIRST
CLAY PRODUCTS
Architects see what others can’t. Then they find a way to make it happen. Endicott has
been working to make an architect’s vision something we can all see – and feel – for endicott.com
more than 100 years. Endicott… building legacies from the ground up.
FACE BRICK | THIN BRICK | CLAY PAVERS

Building
Distinction
Northern Arizona University Student-Athlete High Performance Center | Flagstaff, Arizona
Pioneering Products that Elevate Design and Efficiency.

At Kingspan Insulated Panels, we’re pioneering better technologies
and methods of building for a low carbon world. Kingspan insulated
metal panels are the next generation of building envelope, offering
an unparalleled combination of aesthetic flexibility, energy efficiency
and thermal, air, water and vapor barrier performance.
KS Mini Micro-Rib
Build distinction that stands out.

www.kingspanpanels.us

Architectural Record - 02 - 2024

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Architectural Record - 02 - 2024

Uploaded by

Copyright:

Available Formats

02 2024

Paciﬁc Gate Architect General Contractor/

DEPUTY EDITOR Joann Gonchar, faia, leed ap,

MANAGING EDITOR Linda C. Lentz, lentzl@bnpmedia.com

SENIOR EDITOR Leopoldo Villardi, villardil@bnpmedia.com

SENIOR NEWS/DIGITAL EDITOR Matt Hickman, hickmanm@bnpmedia.com

SPECIAL SECTIONS EDITOR Matthew Marani, maranim@bnpmedia.com

ASSISTANT EDITOR Pansy Schulman schulmanp@bnpmedia.com

COPY EDITOR Anna Shapiro

ART DIRECTOR Michael T. Powell, powellm@bnpmedia.com

CONTRIBUTING EDITORS Sarah Amelar, Beth Broome, James Gauer,

INTERNATIONAL CORRESPONDENTS Tim Abrahams, Andrew Ayers, Aric Chen,

CONTRIBUTING PHOTOGRAPHERS Iwan Baan, Roland Halbe

Periodicals Postage Paid at Birmingham, MI, and at additional mailing offices.

FOR SUBSCRIPTION INFORMATION OR SERVICE, PLEASE CONTACT CUSTOMER SERVICE AT:

BNP Media Helps People Succeed in

IN THE GALLERY AND ONLINE | 39 Battery Pl, New York | skyscraper.org

WORKFORCE/RECRUITMENT: Diane Soister

PRODUCTION MANAGER: Kristen Carpenter

BNP MEDIA: (248) 244-6400

WEBSITE: architecturalrecord.com. SUBSCRIBER SERVICE: For subscription information or

BNP Media Helps People Succeed in

Scan for more on

Look no further. Search and find the BIM

Cost Efﬁciency and Budgeting with Extruded Aluminum Trim

TRENDING ARTICLES ON THE CE CENTER

Architecting Change: Design Exploring Large

NEW LUNCH & LEARNS AVAILABLE ON THE EDUCATION EXCHANGE

Multifamily Housing Academy Glass in Architecture Academy

A tight residential housing market Innovative products, new strategies and

Height adjustment controls

Folds flat against the

Emergency stop button

Easy access controls

Vandal resistant changing

The KB3000-AHL Adult Changing Station from Koala

To learn more, visit

NEW IN WEBINARS WATCH NOW

Proﬁt by Design: A Financial Speciﬁcation of Structural

Unlocking Mass How to Incorporate Zero Waste

Redeﬁning Boundaries Impacts of Decorative Glass and

The Health, Safety, and Welfare

NEW IN PODCASTS LISTEN NOW

Designing-and Dan Mancina-Adaptive

PHOTOGRAPHY: © JILLIAN NELSON

Josephine Minutillo, Editor in Chief

DESIGNED SPECIFICALLY Easy Operation: Smoothest and easiest operation

Uninterrupted Transitions: Only ADA-compliant sill

Proven Durability: Air, water, structural, and forced

Four sill options:

PHOTOGRAPHY: © PAUL WARCHOL

From the living area, a staircase leads down

April 22-25, 2024 | Atlanta, Georgia

#Coverings2024 Register at No Cost at Coverings.com

creation of this book.

HÖRMANN OFFERS A VARIETY OF MODELS, CUSTOMIZATIONS

automotive, EMS and more (BIM objects + speciﬁcation available).

VISIT HORMANN.US FOR MORE INFO.

PHOTOGRAPHY: © MICHIEL VERBEEK, WIKIMEDIA COMMONS

TAKE A LOOK ON PAGE 33

Guess the Architect Contest

All our shown and mentioned decors are reproductions.

Looks and feels like oak: Thanks to the new matt-on-matt-finish,

To find out more

Madrid embassy (King, Warlon, and Guar